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'Peach Score', a Group Show at +DEDE, Berlin



The resurgence of fantasy figures in contemporary art practices leads us to think that the need for the fantastic in the bleak of every day is going through a strong comeback. Aligning realities, in order to pass through the present, longing for worlds that offer, beyond an aesthetic escape, another approach to life often focused on solely surviving the hostile environment and accomplishing heroic quests. Can the realization of another reality be understood as deference of the one we live in? And hence as politics of resistance? Or does this aesthetic represents what could be understood as many interpretations of our post-apocalyptic future and what awaits us? And in general, how to comprehend the amount of realities that await us ahead? How to define “ahead”? Maybe we already managed to live through all our future, present and past realities, and all that remains is to form a semblance of alternative worlds. Don’t you be so pessimistic! If you watch the passage of the game, it will be easier to go through it yourself. And now, my friend, answer me a simple question: do you experience similar emotions when you watch the passage of the game and when you pass the game yourself? In my case, the emotions remain exactly the same. And if they remain the same, then why pay more?

It has all been done before and we now stand here, gathering the remains of what has been left to us. Hence this is not a choice, there are no conscious choices anymore and the few possibilities left are all laid before our small group gathered here today. But again, don’t you be so pessimistic! We have almost made it through this world, slowly getting ready for the next one, and so on. But maybe, just maybe, we still need to put up a couple of things together for the group gathered, for the gathering of possibilities and for futures that are coming after the past futures we have already lived across. I asked my friend what she thinks about all of this. We've been friends since the first Silent Hill came out, which is enough time to be interested in each other's opinions. She whispered to me that in childhood everything seemed easier and more fun. I answered her that it is not necessary to switch to conspiratorial whisper in order to speak such platitudes. She suggested me to relax and look in front of me, like, thus I will understand why she speaks in a whisper and why I should probably do the same thing. I followed her advice, turned my head and started looking straight ahead, trying to see the farthest visible point. My friend was right, as always: in the distance, behind the trees, barely gleaming, trembling and flickering, it moved: THE FUTURE.

— Natalya Serkova and Tristan Deschamps, 2019 

Vitaly Bezpalov, Dorothee Clara Brings, Claude Eigan, Tom Forkin, Zuza Golińska, Bernhard Holaschke, Nicolai Schlapps, Lisa Signorini, Tanat Teeradakorn

Photo by Nicolai Schlapps

+DEDE

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'AMEISEN & HAUFEN', Group Show at BSMNT, Leipzig

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Antoni Hervás at Okela Sormen Lantegia, Bilbao

'La fuite et l’enveloppe' by Maxime Bichon at Treignac Projet, Treignac

'The Man-Servant' by Manuel Cornelius and Georg Thanner at Nails projectroom, Due

'Wrought Bundle' by Garrett Lockhart at Afternoon Projects, Vancouver

'Heavy Middle' by Thomas Moor at Stiftung BINZ39, Zurich

'The Alchemist' by Matyáš Chochola at Gossamer Fog, London

'Ich und mein Modell' by Cosima zu Knyphausen at Stadium, Berlin

'WALLWERK', Group Show at Nir Altman, Munich

'Chagrin de merde' by Angélique Aubrit, Ludovic Beillard, Hugo Dinër at Etablisse

'From Larva to Ghost' by Victor Gogly at Light-harvesting Complex, Vantaa

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