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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)

'The rain of chrysanthemums rotted into hay' by Timur Aloev at Holešovická Šachta

'Bucolic Gang' by Mónica Mays at Rupert, Vilnius

'The Chase' by Jürgen Baumann at Material, Zurich

'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

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