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Edgardo Aragón
Lucas Blalock
Eloise Hawser
Pilvi Takala
Invited by Alice Conconi and Antonio Scoccimarro
Of Love, Pain, and Passioned Revolt. (Then Farewell, My Beloved, 'til It's Freedom Day)
Opening
27.05.2013, 6PM
Until 26-07-2013
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Edgardo Aragón
Luz
2012
digital print
91.44 x 63.5 cm

Lucas Blalock
Untitled (spray)
2011
C-print
53 x 43 cm

Eloise Hawser
Emsen
2011
custom shaped metal
variable dimension (h 160 cm)

Eloise Hawser
Untitled (Lantern)
2011
polyurethane, paper

Micol Assaël
λ (15)
2012
enamel and ink on paper
34,8 x 32 cm framed

Micol Assaël
λ (30)
2012
enamel and ink on paper
34,8 x 32 cm framed

Michael E. Smith
Untitled
2012
sweatshirt, glue
3 x 39 x 25 cm

Lucas Blalock
Athena's Fruit Dish
2012
C-print
29 x 37 cm

Pilvi Takala
Players
2010
video
7'50''

Pilvi Takala
Players
2010
video
7'50''

Edgardo Aragón
Matamoros
2009
single channel video, color, sound
23'

Edgardo Aragón
Matamoros
2009
single channel video, color, sound
23'

Michael E. Smith
Untitled
2012
gord sections
30 x 8 cm approx

Of Love, Pain, and Passioned Revolt.
(Then Farewell, My Beloved, ‘til It’s Freedom Day)

Edgardo Aragón, Micol Assaël, Lucas Blalock, Eloise Hawser, Michael E. Smith, Pilvi Takala. Invited by Alice Conconi and Antonio Scoccimarro

opening: 27.05.2013, 7-9 pm
until 26.07.2013

The exhibition revolves around ideas and forms of resistance, against different possibile problematic states or conditions – political, social, economic or existential.

Edgardo Aragón (1985, lives and works in Oaxaca and Mexico City).
Edgardo Aragón explores the intersection between the personal and the public, the social and the political.
The video Matamoros is based on the reenacting of the journey made by Pedro Vásquez Reyes from Oaxaca to Matamoros when he was trafficking drugs to the United States during the Eighties. The magnificence of the landscape and the personal dreams of the subject contrast with the resignation in the face of a life with little hope.
Luz portrays a young man walking uphill, his head covered, guided only by the sunlight which gives him direction and orientation.

Micol Assaël (1979, lives and works in Rome and Greece).
As in the series of drawings “Inner Disorder” (1999-2001) and “Malogavaritnaia Radioapparatura” (2001-2003), the works in the show are the result of a daily practice, the attempt to define a form and its continuous and innarestable modification in time.
Born from a reflection around light, the title of the new series of drawings “λ” (lambda), refers to the symbol that in physics indicates wavelenght.

Lucas Blalock (1978, lives and works in Los Angeles).
Using analog photography and then employing postproduction techniques borrowed from the advertising industry, Lucas Blalock rethinks and questions the photographic medium and its tools. In his works the multiple layers that compose reality overlap and mutate, revealing procedures and strategies originally conceived as invisible, and creating images that are immediately recognizable as familiar but at the same time imbued with an uncanny and an alien nature.

Eloise Hawser (1985, lives and works in London).
Eloise Hawser’s practice is concerned with the way things are made, and draws on a wide range of references, materials and processes that constitute the industrial environment of our society. Her sculptural works are produced through a laboured process of combining and reworking often friable materials with industrially fabricated elements and found objects.

Michael E. Smith (1977, lives and works in New Hampshire, USA).
Michael E. Smith’ sculptures generate from tools and materials that surround the human being in his domestic environment, and satisfy his basic needs. Depriving them of their original function and violating their form, Smith creates objects that bear traces of their previous life and reveal themselves as residues of the society they belonged to.

Pilvi Takala (1981, lives and works in Istanbul and Amsterdam).
In her work, that includes performance and video, Finnish artist Pilvi Takala examines how our social behaviour is informed by all sorts of unwritten rules. Her seemingly harmless political interventions offer a controversial view of the fragility of our social order. Players portrays a group of six poker professionals living in Bangkok. The rules that govern their community follow the logic of the game: probability theory—the fundamental theory of poker—is adopted as a way to ensure that the individuals treat each others justly and that everyone contributes equally towards communal living.
 


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