Winter Solstice - Viewing Room

“I think of myself as a robber,” Sarah Charlesworth once declared. “I plunder and pillage on paper... I possess these things and give them my own meaning.”

Concorde’s creature-like candleholders are made of revisited camera tripods lit by battery wax candles which flickering flames.

Colmegna’s handknit sweaters aim to complete all artworks in Picabia’s catalogue raisonnée. They are true collectibles, symbols of the emotional attachment to a long pursuit that can never be fully completed.

Cinzia Ruggeri’s surreal gloves à la Meret Oppenheim infiltrate the everyday with absurd and eclectic forms, taking clothing and accessories as experiential architecture.

Pas de café removes the function out of the legendary Bialetti to reveal a surreal, animated landscape, investigating the expressive and behavioural potential of objects.

3D is the result of Franceshini’s long-time obsession with shop windows as a para-cinematographic device.

Föll plays with different formats and coded painting traditions to indicate their translucency towards digital screens.

Her small works offer a compactness that allows for transmission, quoting and sharing.

Mauss’ drawings catch the way images get locked up in the mind, whether it’s a scene, a pleated dress, a pattern or an architectural detail that stands between memories of ornament and function.

The figure of the castle is used by Nicolai’s as a way to depcit the exhausting mental process that involves painting - a contained space that is wavering and at times paranoid, crude and poetic

“In the construction of my drawings, I love embracing and celebrating nonsense, absurdity, and dreamlike images in the free form of poetry, immersing myself in a surreal language”.
- Benni Bosetto

Scott Lyall’s color-corrected photograph references his series of nudes: color wound around the virtual curvature of a void.

Victoria Roth’s works delve into ideas of queer abstraction and queer desire as embedded in bodily forms that appear to be in a constant becoming.

Laguna’s paintings reappropriate a certain amateurism associated with female manual work : It’s as if she is “feminizing or queering the heroic avant-garde of the early twentieth century” said Chris Kraus about her paintings.

For Orange/ Cyan, Deschenes utilized the process of Dye Transfer, discontinued by Kodak in 1993, investigating the technological changes in the medium.

"It is only over time that I can see how the ideas and the materials coalesce."
-Liz Deschenes

Pellicanò’s enigmatic environments revive and reinterpret different imageries, from symbolism of the middle ages, pagan motifs and rituals, to oniric abstraction.

Emily Sundblad’s paintings hallucinate around the French Riviera as an idealized artistic scene, with the Mediterranean hovering in the distance.

Stairs appear recurrently in Bob Smith’s collages, a symbol of passage between two realities, of an access to consciousness or descent into the unknown.