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Philipp Simon at 15 Orient, New York

As two entangled objects moved slowly apart from each other it became a painful picture: the distortion became incrementally stronger and caused a heavy tension. As the final connecting threads ripped off, a vacuum grew outwards from the center. Such an attractive void was swiftly replaced with a new object, one that would always positions itself next to emerging structural gaps. This time it got lucky. As it switched into an equal entity, the ​third object​’s awkward position as a vacuum placeholder was soon overcome. 

At a greater distance, it could be seen that the whole scenario​ ​was​ placed on an aerofoil moving through the stratosphere. This was distracting as there was no way to return to the narrow picture - The new vantage was ineliminable. 

The air con was blowing. With every dry breath inhaled the necessary increment of oxygen was consumed and transported to the capillaries and once there, mixed with deoxygenated blood. It ran through the aorta into the vein branches to divide ATP to ADP and phosphate, thereby releasing energy that enabled the muscles to contract. ​Such perfection; everything was working. The blood ran back and I exhaled. And I inhaled again. 

Circular and expanding structures pierced by the timeline. To understand properly, one needs to make a sideways move away from time. 

Now I remember clearly, a wave dragged me deep underwater and I found myself looking upwards to the ebullient surface of the sea. Here, there was nearly no movement. It was silent. The temperature was mild and the pressure even. I measured the time passing by the frequency of the waves. From this third person perspective, the continuum no longer applied to me - at least until my own frequency of respiration called me back into the mainstream. 

Nonetheless, these exclusive positions always existed as a kind of white noise around the central flow. They were locally unstable yet globally stable, hard to access and maintain, and yet they existed and provided a sort of compensation for the relentless proceeding. 

The most striking structures were constantly oscillating between a participatory inside and an observational outside, like a prisoner who turned into a warden and vice versa. Both had their own independent goals, the prisoner wanted to be free, the warden wanted to keep the prisoner locked up, yet both were most successful when appropriating the other’s intentions. Incidentally, the prisoner was also well advised to place himself next to structural gaps, as a ​third object. 

7.12.19 — 26.1.20

15 Orient

'The Host' by Pakui Hardware at eastcontemporary, Milan

'Chlamydomonas Nivalis' by Alberto Tadiello at Umberto Di Marino Gallery, Napoli

'The Centre' by Patrick Cole and Dominic Watson at Kupfer, London

'Ghost Member: Prosthesis/ Symbiosis as a shelter' by Naomi Maury at L'Assaut de

'I show you the signs of life' by Alina Izmaylova at Kerka gallery, Saint-Petersb

'I Don't Want No Trouble' by Lucas Erin at All Stars, Lausanne

'The Grime and the Schmutz' by Béla Feldberg at Jo-Anne, Frankfurt am Main

'Night of Hinnā' by Monia Ben Hamouda at Bungalow, ChertLüdde, Berlin

'Getting Down to Business' by Rebecca Rothenborg at Galerie Roland Puschitz, Vien

'Why Me?' by Pietro Agostoni at Associazione Barriera, Turin

'Holloway - ‘Das Gift’ is a Gift' by Céline Struger at Loggia, Vienna

'Under the Moon' Group Show at Camp Eternal Hell Chamber, New York

'SUPER-NATURAL', Group Show at OLHÃO, São Paulo

'Body Electric' by Zuza Golinska at Galerie Anton Janizewski, Berlin

'Almost Collapsing Balance' by Liao Wen at Capsule Shanghai

Curated by: 'HARDCORE FREEDOM' by Esben Weile Kjær at Zeller van Almsick, Vienna

anonymous, naïve ca. 1970– at Money Gallery, Saint Petersburg

'Real Life Shoes', Group Show at Atelierhaus Klingental, Basel

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