image text special shop

'la fiebre de las formas', Group Show at Colette Mariana, Barcelona

Disease, mescaline, emotional shock, aesthetic experience and mystical enlightenment have the power, each in its different way and in varying degrees, to inhibit the functions of the normal self and its ordinary brain activity, thus permitting the “other world” to rise into consciousness. [1]
In most normative systems deviance emerges as a cure. Whether a form appears to be moral or immoral has nothing to do with what it is in essence.
In Brandon Cronenberg’s film Antiviral (2012), the shifts of capitalism have bred a new medico-masochist erotism. The Lucas Clinic’s offers its clients an appropriating experience of celebrities’ bodies by commercialising their viruses, germs and parasites. Because sanitisation is the current trend, with clean girls and physical distancing, we are possibly already developing this sort of kink.
The measures taken by governments and businesses to curb the health crisis have recently accelerated the transformation process that conditions our taste : “it is our way of desiring that has gone into crisis” [2]. Paul B. Preciado observes a radical rupture with the fordist aesthetic - which is characterised by speed, productivity, violence and noise - due to bodies being assigned to stay home. At the same time, new technologies are making the domestic space gradually more and more porous while the intimate and the practices belonging to it are shifting. 
Our appreciation of forms has already begun to diverge, mutate, and flee the iconographic and phantasmagorical organisation inherited from the capitalist regime. Let’s put ourselves for a moment in the narrative and carnal reading approach of this idea. Imagine that desire, aspiration, the state of lack or love, is ill. Its survival instinct pushing on the edges of forms to the point of nausea. 
Here, the form fever is the possibility of a perplexed state, of an interstice between interior and exterior, between the past and present, reality and fantasy. The presented works evoke tensions, paradoxes, and are the poetic emanations of what Aldous Huxley ironically called “the human catacomb” [3], a world of symbols lit by neon lights, that in our story may be coming to an end.

1.  Excerpt from a correspondence with Dr Osmond dated April 1, 1953  - HUXLEY, Aldous. Moksha: Aldous Huxley’s Classic Writings on Psychedelics and the Visionary Experience. Rochester, 1977, 1999 Michael Horowitz, Cynthia Palmer.

2.  LE GOÛT DE M, # Paul B. Preciado 2/2 [podcast]. Géraldine Sarratia (Genre Idéale), mai 2023, 37:39 min 06.

3.  HUXLEY, Aldous, The Doors of Perception. 2001, 10/18.

18.11.22 — 21.1.23

Clémentine Adou, Mayra Vom Brocke, Thomas Cap de Ville, Àlex Palacín, Naoki Sutter-Shudo

Photo by Pol Masip

Colette Mariana

'ABSINTHE', Group Show Curated by PLAGUE at Smena, Kazan

'Pupila' by Elizabeth Burmann Littin at Two seven two gallery, Toronto

'Auxiliary Lights' by Kai Philip Trausenegger at Bildraum 07, Vienna

'Inferno' by Matthew Tully Dugan at Lomex, New York

'Зamok', Off-Site Group Project at dentistry Dr. Blumkin, Moscow

'Dog, No Leash', Group Show at Spazio Orr, Brescia

'Syllables in Heart' by Thomas Bremerstent at Salgshallen, Oslo

'Out-of-place artifact', Off-Site Project by Artem Briukhov in Birsk Fortress, Bi

'Gardening' by Daniel Drabek at Toni Areal, Zurich

'HALF TRUTHS', Group Show at Hackney Road, E2 8ET, London

'Unknown Unknowns' by Christian Roncea at West End, The Hague

'Thinking About Things That Are Thinking' by Nicolás Lamas at Meessen De Clercq,

‘Funny / Sad’, Group Show by Ian Bruner, Don Elektro & Halo, curated by Rhizome P

'Don’t Die', Group Show at No Gallery, New York

'Almost Begin' by Bronson Smillie at Afternoon Projects, Vancouver

'I'll Carry Your Heart's Gray Wing with a Trembling Hand to My Old Age', Group Sh

'hapy like a fly' by Clément Courgeon at Colette Mariana, Barcelona

'Fear of the Dark' by Jack Evans at Soup, London

Next Page