Dwelling Rooms is an exhibition that delves into the intimate relationship between self and area. It contemplates the imprint of being upon its environment and questions the boundaries of the thoughts. How does psychic residue dissolve into the partitions? How do bodily construction and psychological area work together?
The exhibited artworks inhabit the liminal area between topic and place, conjuring meanings that unfold inside them. They evoke muted ghosts, latent projections, and lasting traces. They draw the attention to the hid, materialise recollections, convey the skin in, retailer remnants, remodel artefacts into witnesses, and solidify the ephemeral.
As reminiscence breathes and presence lingers, kind turns into content material, and the body turns into pores and skin. Right here, area is the flesh of the world—a weave of matter and reminiscence, notion and place—all pulsating concurrently.
Above the entrance door, a wall pushes again its limits. From its silent density, a formless presence watches over the comings and goings, the frontier between inside and outside. Winnie Mo Rielly’s work explores inhabited areas the place physique and structure intermingle, and the place pores and skin and floor merge inside cramped interiors. She examines the thresholds of identification in home areas: how the self strikes, seeps via cracks, disappears into nooks and crannies, and fuses with objects. The physique is not an remoted kind however a dispersed presence. Her work shapes reminiscence into matter—sculptures by which intimacy turns into panorama, and panorama turns into a delicate expertise of the self.
Erected on a plinth, an intimate theatre phases the embrace of sharp silhouettes confronted with their very own reflection. It’s a dream of omniscience granted by the glass partitions that enclose a tense scene—poised between confrontation and need—the place the gaze oscillates between voyeurism and involuntary witnessing. A bit of additional on, a hairpin—stretched to human scale and sharpened like a weapon—stands like a totem. An extraordinary, intimate object that’s each decoration and instrument of management, You’re nonetheless right here exists in a state of rigidity: between care and constraint, femininity and energy, discretion and risk.
By sculpting on a regular basis objects, Mathilde Albouy interrogates their performative nature and symbolic weight. Removed from fetishising the item, her work explores how home design inscribes our bodies into social area.
Sofía Bonilla Otoya’s tinted silk curtains neither totally shut nor utterly shield. As fluid partitions, they separate with out severing. Eucalyptus is boiled into steam—to rub the physique, to convey it again to the pores and skin. Silk is susceptible, mutable, attentive to its environment. Catálogo de razones is a set of prospects—distinctive, fleeting reactions. Right here, variations are organized in a line, like a fraudulent gradation, like segments of a curtain, fragments of thought. The entire stands like a wall stuffed with air—a separation that acts as a sensory premise reasonably than an architectural resolution. It evokes the divisions of the thoughts: hypotheses, by no means certainties.
Dozie Kanu’s Headboard (think about respiratory) and Headboard (bracing for shitty response) prolong his sculptural apply of repurposing on a regular basis objects, blurring the boundaries between artwork and performance to query how objects are socially coded. Discovered furnishings, missed supplies, and industrial elements—steeped in widespread tradition—kind recontextualised assemblages. For this exhibition, he produced two interlinked items in Paris: one diverted, the opposite reconfigured. The headboard, a well-recognized factor of the home sphere, is dismantled, uncovered, laid naked, and put to the check—as if to revive its latent materials reminiscence and poetics. Highly effective of their fragility, the works develop into vessels for a fragmented narrative, exploring the legacy and reminiscence of objects and their potential to accumulate new meanings as they transition from non-public settings to public area.
Tarik Kiswanson’s resin flooring holds a spatial reminiscence: the ground plan of his household’s childhood flat in a social housing complicated on the outskirts of Halmstad, Sweden. Constructed within the late Seventies to deal with migrant households, the poorly designed and quickly deteriorating tower block was demolished within the early 2000s. The container—neither totally clear nor totally opaque—preserves a diasporic reminiscence that’s each fragile and chronic. Right here, home topography turns into a medium for evoking a vanished place, however above all, a shared second in time. Anamnesis is a composite reminiscence: conceived by the artist and his three sisters, it displays a shared understanding of collective reminiscence formed by differing perceptions. A miniature monument to a misplaced social construction, it encapsulates the anomaly inherent in migratory trajectories—a house that was each inhabited and transitory, a reminiscence anchored in an area that not exists.
On the wall, Sanya Kantarovsky’s Insect Ballet depicts the actions of a ballet dancer performing the metamorphosis of Gregor Samsa, Kafka’s hero, right into a monstrous insect in the course of his flat. Kantarovsky’s work explores constrained territories—inside, psychological, and social—the place mechanisms of domination, need, and emotional overflow are re-enacted. This new piece, trapped inside its personal framework, unfolds a dance of decadence, a dysfunctional ballet the place sleek actions are shattered by the tough edges of actuality. It reveals a wrestle between the bourgeois fantasy of management over an inside—each home and psychic— that’s orderly, clear, and practical, and the irreducible instability of the residing: natural, shapeless, and chaotic.
Pouches of bodily fluids and urine pile up and relaxation inside a inflexible body—suspended, a pictorial flesh. Shahryar Nashat presents urine as a sculptural materials, revealing a uncooked intimacy: a physique that’s absent but intensely current via what it produces. Wounds, vulnerability, and the testing of need and the physique via disgust are recurring themes in his work. Love_27.JPEG materialises what shouldn’t be: not love itself, however its compressed picture; not presence, however one in all its kinds—absence. The set up engages with fluids, the envelope, intimacy, relaxation, consumption, and residue. Nashat explores an aesthetic of lack, the place the artwork object concurrently turns into relic, hint, and discard: preserving stays, even these disparaged, as a refusal of the logic of erasure or oblivion.
Ser Serpas brings the skin in, mixing two materials binaries: the home and the city, the large and the susceptible. Pushed by a bodily syntax that totally engages gesture, gravity, and physicality, she creates sculptures for this challenge from objects deserted within the streets of the twentieth arrondissement. Nothing is mounted; all the things is in rigidity, held collectively by friction, stacking, interpenetration, and collisions. Her technique of creation depends solely on what the physique can transport, manipulate, and maintain collectively—with no instruments aside from itself. The act of meeting turns into language, alternative, dance, wrestle, and an embrace with matter. In transit and in a perpetual state of transition, these fragile but imposing works may collapse at any second.
—Tiffany Dornoy Rezaei
Collaborating artists:
Mathilde Albouy, Sofia Bonilla Otoya, Sanya Kantarovsky, Dozie Kanu, Tarik Kiswanson, Winnie Mo Rielly, Shahryar Nashat, Ser Serpas.
Curated by:
Tiffany Dornoy Rezaei
at Probably Someday Tomorrow, Paris
till June 29, 2025
