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'Curing' by Paloma Proudfoot at Sans titre (2016), Paris

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Paloma Proudfoot, The form of the flower is unknown to the seed II, 2019
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Paloma Proudfoot, Do not take me for granite, 2019
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Paloma Proudfoot, She began to write with her needle, 2019
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Paloma Proudfoot, She began to write with her needle, 2019
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Paloma Proudfoot, She began to write with her needle, 2019
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Paloma Proudfoot, She began to write with her needle, 2019
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Paloma Proudfoot, On a scale of one to ten, 2019
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Paloma Proudfoot, On a scale of one to ten, 2019
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Paloma Proudfoot, On a scale of one to ten, 2019
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Paloma Proudfoot, On a scale of one to ten, 2019
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Paloma Proudfoot, The truth isn’t the most exciting place to reach, 2019
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Paloma Proudfoot, The form of the flower is unknown to the seed II, 2019
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Paloma Proudfoot, She began to write with her needle, 2019
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Paloma Proudfoot navigates freely within the field of beauty, emancipated from marketing pressures to better assert her own ideals. So she gets her hands dirty, prepared to reinvent everything. The demiurgic aspect of working with clay permits this. It is not a matter of applying an exfoliating mask, avoiding the contours of the eyes, in the clinical atmosphere of an institute, but of shaping a corpulence from mud, from slush, from silt. From shit. And the preservative properties of mire are self-evident, to the point that one finds in such ground, bodies intact despite life having left them millennia ago. A natural embalmment retaliates. This double character of finitude and conservation, of vice and virtue, long permeates the imagination of the artist who crushes the flesh of the earth. Faced with the injunction to maintain one’s body stable throughout the decades, she invites us to embrace the organic evolution, the happy decay. Demise is considered here as an experience among others. The existential cosmetic is overcome. The artist braids arteries and branches in the blackness of her earthenware, a pipeworks from which the vitality of fluids reenammains to be scoured. The firing and the glazing, by paralyzing its muscles, act like a poison. Originally, the curare is extracted from certain Amazonian lianae in order to poison arrows for hunting. While its etymology might give one to believe it derives from a Latin, curative root, it is entirely the opposite that is confirmed by the native word «ourari» meaning «death that kills in a low voice».

— Joel Riff

27.9.19 — 9.11.19

Photo by Aurélien Mole

Sans titre (2016)

'gLuTcH', Off-Site Show by Bora Akincitürk and Mario Miron at Sinkhole project, N

Arrows of Desire: Harry Gould Harvey IV and Faith Wilding, David Winton Bell Gall

'In hopes but often in a contradiction. Allegro Agitato' by Daria Makarova
 at IS

'Homesick', Group Show by Shivers Only Hosted by Radical PR, Paris

'Case Study: The Corporate Stoner', Group Show Curated by Christian Roncea at Qua

'A Mirror to Forget' by Jessica Butler and Isabella Kressin at Gern en Regalia, N

'Where My Cards Lay' by Ieva Kraule-Kūna at Kim?, Riga

'Ante mare et terras' by TARWUK at Collezione Maramotti, Reggio Emilia

'Dorm Room' by David Gruber at Trust, Vienna

'Wings in motion' by Šimon Chovan at Nitrianska Galéria, Nitra

'Concert in "The seeds" club' by Katerina Lukina at Alisa gallery, Moscow

'Jakub Jansa: SHAME TO PRIDE (Club of Opportunities, ep. 7)' by Jakub Jansa at Mo

'When the Dust Settles' by Adam Cruces at Rindermarkt 23, Zürich

'My purble place' by Alice Pilusi at L’ascensore, Palermo

'YOU WILL NEVER WALK ALONE' by Cécile di Giovanni at Goswell Road, Paris

'Into the Unknown' by Lukas Hofmann at Moderna Museet, Malmö

'Урочище Selbst' by Dasha Kuznetsova at ISSMAG, Moscow

'The Notebook Simulations' by Agnes Scherer at Kunstverein für die Rheinlande und

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