A gaggle present of six artists linked by their explorations of materiality, worth, and the affective situations of late-capitalist life. These artists discover how modulations of kind, house, and context can subjectively counter the larger forces of displacement, entropy, and privatization. By means of a range of media, together with sculpture, set up, video, and images, they reassert their subjective declare over and towards arbitrary powers that appear past anybody’s management. Delusion and superstition emerge each as capitalist ciphers and as treatments towards the arbitrary development and circularity of worth.
On the bottom ground, a photographic collage by Rafik Greiss employs a way of defamiliarization. Because the Rush Comes (2023) includes pictures, displayed in a fragmentary association and mounted on Japanese paper, charting a trajectory of journey throughout the globe: unmade beds, laundry strains, ruined buildings, and elegant earthly landscapes emerge from the transitory interspaces of tunnels. Taken between Tskaltubo, Georgia, and Tsuruoka, Japan, they conjure states of intimacy and absence amid the kaleidoscopic impact of switch.
Dora Budor continues her investigation into city improvement, psychosociality, performativity, and privatization by means of new works. Vintages (2025) and Drama in a Dramatised Society (2025) incorporate purpose-built televisions constructed from used champagne delivery containers that the artist gathered amid New 12 months’s Day celebrations from the streets of New York. Mounted on the wall, like air con models, or on a plinth like normal museum displays, they show movies by means of a Fresnel lens which produces a distortive and almost psychedelic impact. They body the consequences of steady inebriation as a part of the compact of late-capitalist city life by way of a continually-renewed contract of altered states.
These are paired with blue horses (2024), Instax polaroids printed instantly from the telephone, which seize Citibikes in New York which have been completely free of the docking stations, and left to roam inside the city panorama.
Ser Serpas culls discovered and discarded objects from the streets of cities she has traveled to for work, repurposing them to replicate the shifting mythologies and perception methods of on a regular basis life. Her work highlights the often-violent inversions of worth, the place a prized object can grow to be trash and vice versa. Serpas’ triangular constructions, assembled from objects initially discovered on the streets of Naples, embody motion, impermanence, and transformation. They operate as each a report of transience and a critique of methods that dictate value and possession
The untitled works of Elene Latchkepiani develop out of an intuitive and natural methodology that explores the materiality of objects and the inside constructions of kind, course of, materials, and house. Her work are materially-driven explorations, incorporating natural supplies similar to concrete, gypsum, and paint. Utilizing primarily wooden and clay, a sequence of amalgamic sculptures manifest the intricacies of kind and the timelessness of fabric.
Joyce Joumaa’s work employs financial motive towards itself to disclose the group psychology that arose from the financial collapse and liquidity disaster in Lebanon. By the beginning of 2019, the fast devaluation of the Lebanese lira instilled a collective sense of mistrust vis-à-vis the central banking system. Joumaa prompts an outdated confluence between human signature and financial worth; outdated banknotes or cheques wanted to be signed to claim their validity as forex. Superimposed on photos of lira banknotes, the signature-like motifs in her prints—every individually numbered—play with scale and abstraction, highlighting a near-superstitious collective fixation on summary figures, mirroring the iterative recalculations required in every day life and the specious circularity of worth.
Simon Lässig’s work focuses on the artificiality of social situations, drawing from analysis on filmic archives to reveal the manipulated nature of the true. Lässig’s silver gelatin print, In a room of 497 × 239 cm , every wall measuring 250 cm in top, a window of 146 × 134 cm on the left wall, a door of 111 × 200 cm on the wall dealing with me. Being with out movement , I have a look at the opposite, measure myself towards each motion they make , for I see what they see and see it as they see it: with out color, as angles and distances (2023) is printed on historic “ORWO” paper from the GDR. The picture exhibits a barely abstracted torso appropriated from a Hungarian movie, drawing on the filmic custom of documentary-fiction that emerged within the Nineteen Seventies in Hungary that emphasised transparencies, stillness, and suspended actions in a mode of filmic “Quasirealism.”
Taking part artists:
Dora Budor, Rafik Greiss, Joyce Joumaa, Simon Lässig, Elene Latchkepiani and Ser Serpas
at Galerie Molitor, Berlin
till March 7, 2025
