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'La salle de bain' by Anna Solal at FUTURA, Prague

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I’m attractive and intelligent, and it pleases me that I’m being watched. And if I happen to tell a lie or two from time to time, it’s only so you don’t paint a bad picture of me.

Orhan Pamuk: My name is Red

The bathroom is the first part of a project in the frame of which Anna Solal decided to build a house, or rather its equipment, for someone she doesn’t know. For that, she is using junk of the contemporary culture, objects from one euro shops, industrial parts, different pieces of cheap plastic, broken smartphone screens. Those are, however, very laboriously and in a somehow primitive way joint, assembled in new compositions, not unlike 3D mosaics. Their identity is to a certain extent lost, but with a bit of focus it is still recognisable.

Certain concentration, but also distraction, is projected in the way we perceive the work of Anna; how we are getting lost in the details, our sight jumping from one part to another. We may perceive the character of the work and the used materials as a sort of abstraction of contemporary civilisation, its constant short term distraction, lack of concentration, mass quantity but inability to include the whole. There is also something rough and brutal about Anna’s works, in the impudency, rudimentarity of the treatment, that follows the cheapness of the original objects, but almost with a somehow neurotic drive. Thousand-times-twisted threads, pieces of roller bearings and belt studs, are somehow an allegoric depiction of our accelerated presence, the inability to cease, the getting almost to a neurotic psychosis of a drug addict losing themselves to total exhaustion in different details.

The bathroom of Anna Solal is definitely an impoverished one. A small room, musty with dampness and sweet smell of cheap perfume, stains of mold and bad colours of bad make-up. The beauty of the poor, too sweet, too fake. There is something intimate in it, but also repulsive. Something used. It is as if we are facing leftovers of what allowed us to put ourselves together.

In the drawings of towels, clothes scattered on the floor, old toothbrushes and flung shoes we again arrive at a somehow neurotic, even hallucinatory point. The pedicure set transforms itself into a traffic jam and the back view on a girl combing her hair in the repetition changes into some unclear nebula, color stain or a puddle of a body liquid. The assembling and composing is therefore also possible to read as somehow an attempt to hold together a harmony or a system in a situation, where the drive has liberated itself from original impulse and became an out-of-control spiral.

— Michal Novotný

16.7.19 — 15.9.19

Сurated by Michal Novotný

FUTURA

'New Psychedelia of Industrial Healing' by Sharona Franklin at King’s Leap, New Y

'Another Night in Dream City' by Seán Boylan at Stranger, Baltimore

'I SAW A CROW, ORCA WAS I' by Alison Yip at Monte Clark Gallery, Vancouver

'DIGESTING DUCK ENTRY LEVEL POSITION' by Isabelle Frances McGuire at From the Des

'Access Modes for Encountering Large Industrial Bodies' by Kitty Maria at Het Res

'La ballade des sardines – Die Liebe der Sardinen' by Robert Brambora at Sans tit

'Weathered Shabby Shabby Brenches: Vernal Festivity of the Four Clari' by MRZB at

'Rose Button' by Romain Vicari at Placement Produit, Aubervilliers

'리좀적 주문 Rhizomatic Spell', a Group Show at Kvalitář, Prague

'Die ZWEITE HAND' by Niclas Riepshoff at Stadium, Berlin

'Bit Rot' by Bob Bicknell-Knight at Broadway Studio and Gallery, Letchworth Garde

'ALL ONE' by MYLASHER / Tine Günther at The Complex, Dublin

'Jacques de Bascher', a Group Show at Treize, Paris

'Confusion is next and next after that is the truth' by Jonathan Castro Alejos at

'Dewdrop Toadstool Hopscotch' by Isabelle Adams at Garthim, Mattheissen State Par

Behrang Karimi at Zarinbal Khoshbakht, Cologne

'Selfing' by Elif Saydam at MÉLANGE, Cologne

'From the Xmas Tree of Lucy Bull 2', a Group Show at From the Desk of Lucy Bull,

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