20 October - 24 November
How One Thing Leads To Another
Elizabeth De Witt, Neil Fortune, Alina Ozerova, Marjet Zwaans
On 20 October Josilda da Conceicao Gallery will proudly present new work by four diverse artists: three of them having their own separate space inside the gallery and one contributing an individual work. Neil Fortune (Georgetown, Guyana) is making his debut with the gallery, showing an installation that occupies the whole first room, while in the adjacent room, filmmaker and sound artist Alina Ozerova (Moscow, Russia) shows two videos next to each other, as a diptych. The third room is dedicated to the latest drawings and paintings of Elizabeth De Witt (Long Beach, USA). Marjet Zwaans (Groningen, NL) shows a photograph that will welcome you at the entrance.
For this exhibition, Neil Fortune will show a series of sculptures that he made over the past two years. The textile and polyester-fiber made sculptures make through their organic shapes the viewer aware of his role towards the objects and the architecture their standing in. Fortune likes this idea of producing a stage within a stage, with you being part of this echo, in a playful but yet compelling manner. Presenting his works together as one installation, Fortune hopes to offer alternative ways of engagement when experiencing the work.
Alina Ozerova placed two TV screens side by side, with videos showing men and their singing birds. Being part of a Surinam singing bird community, these men get together every Sunday. What is it? Sport, lifestyle or maybe friendship between birds and men? Ozerova is captivated by image and sound and while spending time with these community members, she made a documentary audio-visual installation of what she saw and heard. She was inspired by the listening of the birds and how they are following routes.
In the third room are the drawings by Elizabeth De Witt. De Witt explores the continuum between the present (image) and memory (afterimage). She is interested in how we are, how we aren’t, and how we can be present with the world and with the people around us. Her practice primarily culminates in the creation of drawings and paintings on paper, as can be seen in these works.
Marjet Zwaans creates installations wherein photography is used as a medium to analyse. Made for a specific exhibition space, she finds it fascinating how such a photo can remain interesting outside the original situation. In the photo series Out of Site Specific Context, she asks how the meaning and artistic value of a work can remain intact without the knowledge and context of the original exhibition situation.