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Apparatus 22 at Suprainfinit Gallery, Bucharest

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Apparatus 22, VISTAS, MIST AND CLARITY (LONDON, SUMMER 2015), 2017
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Apparatus 22, VISTAS, MIST AND CLARITY (LONDON, SUMMER 2015), 2017
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Apparatus 22, VISTAS, MIST AND CLARITY (LONDON, SUMMER 2015), 2017
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Exhibition view
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Apparatus 22, STILL LIFE (1), 2016
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Apparatus 22, STILL LIFE (2), 2016
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Apparatus 22, STILL LIFE (3), 2016
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Apparatus 22, PREDATORS, 2017
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Apparatus 22, TOTEM - detail, 2017
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Apparatus 22, TOTEM, 2017
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Apparatus 22, MEAT & LILIES, 2017
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Apparatus 22, MEAT & LILIES, 2017
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Exhibition view
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Exhibition view
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Apparatus 22, STILL LIFE (RAVEN), 2016
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Apparatus 22, STILL LIFE (CHIMERA), 2016
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Apparatus 22, STILL LIFE (BESTIARY), 2016
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Exhibition view
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Exhibition view
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Apparatus 22, STILL LIFE (FOR YEARS), 2017
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Apparatus 22, STILL LIFE (APPETITE), 2017
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Apparatus 22, STILL LIFE (THE RIDDLE), 2017
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THE TWISTS AND TURNS OF THE SPECULATIVE STILL LIFE: WHAT WOULD CHARLES STERLING SAY?
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Apparatus 22, VISTAS, MIST AND CLARITY (LONDON, SUMMER 2015) - detail, 2017
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Apparatus 22, STILL LIFE (BESTIARY) - detail, 2016

Figure I.
Twenty-Four Hours

High above London we looked, knowing we couldn’t for very long. In quiet, in intervals, we watched the city move like anxious fingers tapping on a knee. For a moment, a barrier to entry had been broken. Years later, we tried to remember that day. Fragmented images – a splash from a truck tire onto a shoe, office-building lights flickering on at 4am, a well-groomed and empty park accessible to none. Recalling images half-fictitiously, half-uncovered. The door then closed on us and we saw everything at street-level once again.

Figure II. Seven Roses Slightly Withered

In a dimly lit room, the human imagination reaches further than what reality presents. What one sees, and how one artificially fills in the unknown spaces can spontaneously merge. Shadows, two green blinking eyes. The background becomes a pattern – floral. The information is there, but the mind wanders further. For each who enters, the scene shifts and molds itself accordingly through time, space, and individual memories.

Figure III.
All-You-Can-Eat

The most common still life scenes focus on edibles – freshly picked, baked, stacked high on silver trays. Far from theatrical story-telling or informative portrayals of history, still lifes often present objects of the every day, or what Charles Sterling referred to as rhopography. In the context of Suprainfinit’s temporary space, the long history of the building is illuminated through the still life, highlighting the main reason for visiting patrons over the years – food. The works function also as a critique on abundance and gluttony; poking and prodding at the very references they pay homage to.

Figure IV.
This Isn’t a Bird

How does one unfreeze a landscape? Eschewing time and event with certainty, the natural world confirms its presence. Archival images stand stagnant. Triggered through language, the images transform, resisting categorization.

This isn’t a bird, this isn’t a stone, this isn’t a mountain. 

Figure V. Taped and Boarded-up, a Bit Moldy

Lights off in the backroom of a storage space. A documentation of a documentation becomes a simulation. Re-created with overlapping qualities, but not quite perfect – it can never be the same twice. The archive sits in infinite space, invisibly everywhere.

16.11.17 — 20.12.17

Text and curated by Christina Gigliotti

Photo by Ioana Parvan

Suprainfinit Gallery

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