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'The Walls Have Ears' by Inside Job and Nomadic State at Trafostacja Sztuki w Szczecinie, Szczecin

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As creators of exhibition content - artists, coordinators and curators - we repeatedly face various installation botch-ups. Our minimalist works wobble on the carelessly put together cubes, they get damaged in last-minute shipments and fall off gallery walls, along with crooked nails. Even though we quietly curse at the improperly used bubble wrap, we know we are not allowed to shout. The institutional criticism to date is taking its toll – you are not supposed to get pissed off, loudly and rudely. Hence, we decided to follow the beaten path and create the exhibition that would provide a polite commentary on the situation.

The artistic duos that were invited to collaborate on the show worked in the basement corridor, one of the most installation-unfriendly spaces in the TRAFO building. The result is the space resem- bling a storage room, with seemingly forgotten works that appear to be waiting for someone to in- stall them properly.

The storage nature of the exhibition is further emphasized by the intervention of Nomadic State. The aquariums with water animals, entered in the CITES register, pose a charming question about the level of empathy in the employees. The glass houses for smuggled animals feature somewhat peculiar creatures, including a white axolotl, whose color is the result of a mutated male of the species that was trafficked to Paris in 1863, or an eartheater that is the first generation of wild pa- rents.

The objects created by Inside Job, including crawling cockroaches, a portal and claws sticking out of the walls, are a visualization of a local horror story. The spirit of Henry haunting the employees, the security personnel in particular, is a remnant of an alleged corpse excavated during the works carried out while converting the building from the former transformer facility into a modern art center. The poltergeist apparently travels alone in the elevator. He is also an excuse for all missing pen- drives, damaged paintings and irregular holes in the walls.

It would seem a job with a cultural institution is a dream come true for graduates of an art academy. Dreams of non-hierarchical nature and lack of corporate style of work evaporate with the first self- written complaint.

No wall suffered during the installation.

26.9.19 — 15.11.19

Inside Job (Ula Lucińska, Michał Knychaus), Nomadic State (Karolina Mełnicka, Stachu Szumski)

Curated by Daria Grabowska

Trafostacja Sztuki w Szczecinie

'Boreal Throne', Off-Site Group Project at Smena, Kazan

'BUZZ' by Karina Mendreczky, Katalin Kortmann Járay at FKSE Studio of Young Artis

'Dieu' by Mélanie Matranga at High Art, Paris

'Fantasy Lands' by Maggie Dunlap & Allan Gardner at Collective Ending, London

'Dead Season' by Vitaly Bezpalov & Karina Azizova at Spas Setun, Moscow

'Duru Duru' by Stefano Serusi at Galleria Arrivada, Milan

'Ø' by Andrea Nacciarriti at DISPLAY, Parma

'Vore' by Jenkin van Zyl at Rose Easton, London

'Bigag & The Bando' by Theodor Nymark at aaaa Nordhavn, Copenhagen

'Mitla' by Andy Medina at Estrella Gallery, New York

'INSIDE OUT' by Poupak Sarah Shoughi at Herrretics, Derbyshire

'LIBERTY' by Débora Delmar at GALLLERIA PÌU, Bologna

'HEARTH' by Liam Denny at Greenhouse Off-Site, Melbourne

'CANDALÙ' by Rachele Maistrello at Almanac, Turin

'Thought-Forms' by Andy Ralph Presented by Final Hot Desert, Nephi, Utah

'The Laws Of Hospitality' by Travis John Ficarra at Lindberg Galleries, Melbourne

'Firmament' by Aaron Christopher Rees at NAP Contemporary, Mildura

'Take The Day Out In Baskets', Group Show at St. Chads, London

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