4 September - 9 October 2020
Airco Caravan, Yiyi Chen, Kanitha Tith,
Alice Heron, Oscar Peters
Airco Caravan, as a conceptual artist, painter, activist, and feminist, sends a message through art. Airco wants to make people think and make the world a better place, using artists' tools like paintings, projects, installations, and fundraiser exhibitions. All kinds of resources are used, from statues in public places to Chinese paintings, from silicon fetuses to her own hair. Her work questions our awareness and convictions about race, religion, gender, and the boundaries that separate freedom and oppression, love and hate, life and death. She never avoids the risk of crossing a line. Political issues, crazy facts, women's rights, and human rights are her starting point. The innocent and sometimes provocative artworks have a twist or deeper meaning, leaving the interpretation up to the viewer.
Cambodian artist Kanitha Tith has to feel it. She works slowly, and preferably with a quiet mind. Paradoxically, she chooses steel wire as material for her sculptures: She coils it tightly around a small rod, resulting in something similar to the spring of ballpoint pen-just as thin, but excessively long. She favors an intuitive approach, in which she allows the material to find its own form through her fingers. This year, she started making drawings in which she collaborates, as it were, with the wire sculpture. Again, intuition plays a major role. She allows the sculptures to find their way across large sheets of paper on the ground, the paint leaving an imprint of their movements.
Yiyi Chen asks the question “what is it for us to be?” through her practice of painting. Due to her inborn nature, she feels deeply connected to the spontaneous and insignificant moments in life. For her, in those moments, the sense of being is rooted. The world is revealed as it is in her distant view, unembellished and un-staged. She wrote: “and I also believe the concealed hides in the mundane that are exemplified by the randomness and trivialness of life, disclosed as such, for the everyday reality essentially consists of the uncontrived fragments of our being”.
Hence, she sits and observes, randomly photographs her daily encounters, capturing the insignificant and the ordinary. Based on those pictures she paints, projecting her view of reality. On her canvas, there would be shadows cast on the ground, obscure screenshots of a video call, or images of everyday objects, surroundings and human beings... Both her early and later works create an atmosphere. Though in different visual languages, they share a sense of stillness that accentuates a theme - the silent existence of an object, a scene or a moment.
The focus of Alice Heron’s work lies in elements of growth and how it relates to the body. Being immersed in the Netherlands where the land and the water are carefully controlled, the artist finds herself looking at nature from a distance. She has the urge to create speculative scenarios based on imaginary flora and fauna and as a result, she grows her own invasive species. Interested in merging threat and beauty together Alice Heron wants her work to feel like something is out of control, just as if it was having a life of its own: a kind of soft post-apocalyptic poetry where the place the human body is at the center of natural concerns.
Oscar Peters builds kinetic sculptures. The sculptures vary in scale: sometimes they are as big as an arm, but more often they are larger than a person and occasionally they are as big as a house. Peters’ work is cinematic, imposing and cheerful. He wants to overwhelm you with exuberant movement and sound, to enrapture you with a grotesque spectacle. Peter wants you to be overwhelmed as soon as you enter the exhibition, for it to swallow you and completely devour you, until you are satiated. However spectacular and exuberant his work may be, there is always a dark side to it.
Heron and Peters will be presenting a collaborative work in the “Temporal Space”.