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Eva L’Hoest & Xavier Mary at MÉLANGE, Cologne

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Installation view
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Eva L’Hoest, Les mêmes Écailles, 2017
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Eva L’Hoest, Les mêmes Écailles, 2017
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Xavier Mary, Protect me from self-transforming Machine Elves, 2017
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Xavier Mary, Protect me from self-transforming Machine Elves, 2017, Detail
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Xavier Mary, Protect me from self-transforming Machine Elves, 2017, Detail
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Installation view
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Eva L’Hoest, Laminaires Digitée, 2017
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Eva L’Hoest, Laminaires Digitée, 2017
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Xavier Mary, We have the same Scales, 2017
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Xavier Mary, We have the same Scales, 2017
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Eva L’Hoest, Backface Culling, 2017
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Installation View
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Eva L’Hoest, Biometric Spine, 2017
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Eva L’Hoest, Biometric Spine, 2017
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Eva L’Hoest & Xavier Mary, Forbidden Edges, 2017
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Eva L’Hoest & Xavier Mary, Forbidden Edges, 2017
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Eva L’Hoest & Xavier Mary, Forbidden Edges, 2017

Is it not, that we are all somehow connected through the same...... yeah, what? Thoughts? Desires? Mindsets? Beliefs? Or through our DNA? If not anything else, it is the biology of the body that somehow defines our basic nature as a whole. Yet, despite the mutual molecular structure, there is something involved that separates us, developing the process of individualization. But still, we try to pretend that there is something we share a common ground with other human beings, we cling to in times of desperation, emergency, hostility and what not. 

This feeling of connectivity, which over the course of time had different roots and reasons, is something that very much defines who everyone is within a community, or tries to be, or... acts to be. Due to the growing globalization that truly allowed a worldwide communication, and moreover through the use and rise of social media, this processed feeling of interconnection has nevertheless gone bonkers. One dream, one world. As old political alliances are steadily dissolving the world wide community is yet untouched by it, still liking the same, still looking the same. 

While the human act of „sharing“ has degenerated into a tool of meaningless reproducibility of selfimage, the value of sharing and participation has turned into an economic product for product placement. What you are selling is not even your own persona, just a given prospect of it. With Shakespeare´ saying of: The world´s a stage, ones has to ask: Which reality do you mean again? The fluid relations between the users, deprive you from the need of actually sharing the same ideals and feelings. The act is as good as the real. Just repeat the smile, hopefully someone will buy it.

23.6.17 — 30.7.17

MÉLANGE

'Field of Flowers' by Anna Taganzeva-Kobzeva at Fabula Gallery, Moscow

'WEBWAY' by Jennifer Mathews and Mia Middleton at Haydens Gallery, Melbourne

'Body Without Organs
' by Matt Smoak at BAD WATER, Knoxville

'Aladdin Kebab', Group Show Curated by TZVETNIK at llil.space, Rostov-on-Don

'Squeaky Beach' by Collective Disgrace (Ilana Winderickx, Sophie Conus, Pablo Rez

'Session N1 Distant touch' by Sasha Gosmant and Olesia Lavrinenko at Daipyat, Vor

'...schläft sich durch' by Elif Saydam at Kunstverein Harburger Bahnhof, Hamburg

'Flesh of Earth' by Suzanna Zak at Prairie, Chicago

Proudfoot & Piasecka (ft. Nima Séne, Ailie Ormston and William Darrell), ENSEMBLE

'Šedý girlandy' by Anka Helfert at Studio PRÁM, Prague

'Castles III' by Jesse Sullivan at apartment 13

'You Likey?' by Joe W. Speier at King’s Leap, New York

'À fleur de boue' by Cecilia Granara & Pierre Unal-Brunet at Double Séjour, Clich

'Fog Palace' by Philip Hinge & Club Superette (presented by Catbox Contemporary)

'Truth' by Alexey Zhuravlev at Gallery Victoria, Samara

'Siren Fort', Off-Site Group Show at Rozel Point Oil Field, Utah

'Glück für Sorgenkinder' by Isadora Vogt at Sentiment, Zurich

'Tales of Nursing' by Loren Kagny at eeeeh!, Nyon

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