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+---
+title: Exhibitions
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+title: 'Current + upcoming'
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+---
+date_start: '01-01-2020 16:06'
+date_end: '06-02-2020 12:38'
+lieux: '12th Floor'
+title: 'Cicatrices, '
+artistes: 'Jean-marie appriou, Srijon Chowdhury, John miserendino, Cajsa von zeipel, Adriano amaral, muriel abadie'
+media_order: 'Adriano Amaral, Untitled, 2018.jpg,Adriano Amaral, Untitled, 2018(1).jpg,Adriano Amaral, Untitled, 2018(2).jpg,Cajsa von Zeipel, When_ and Why_, 2019.jpg,Cajsa von Zeipel, Why_, 2019, When_, 2019.jpg,Details of Adriano Amaral, Untitled, 2018.jpg,Details of Cajsa von Zeipel, When_ and Why_, 2019.jpg,Installation Isaac Lythgoe and Muriel Abadie.jpg,Isaac Lythgoe, grip the wheel, look straight ahead, 2016.jpg,Jean-Marie Appriou, Shrimp, 2018.jpg,John Miserendino, L’origine du monde, 2018.jpg,John Miserendino, Mamie and Marco, 2018.jpg,Muriel Abadie, Masked Monkey, 2018.jpg'
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+
+On an epithelial level, the scar is simply a mark, a regenerated piece of tissue, a healed lesion
+that conventionally follows the infliction of an incision or a burn, either intentional or not. Of
+this trace however, we almost instantly find that it does not suffice to regard it as a mere
+peculiarity of the dermis, as what is crucial to this fibrous section of tissue is the meta-
+cutaneous, its metonymic relationship to a particular event or action. This is the primary trait
+of any scar: that it signifies beyond the skin, beyond the biological palimpsest that it has
+produced. We are, at first, tempted to associate it with the traumatic, with the remnants of
+suffering that make of it a relic of pain, both physical and cognitive, an agonizing recollection
+of consumed passions and jagged embraces, flaming within our psyche and manifest with the
+illuminated perspex sculptures of Isaac Lythgoe. Yet, is it not a scar that also reminds one of
+birth, of being removed from the womb for, which our mothers bear a caesarean section or
+we, a snipping away of the umbilical cord? Can the postpartum depression alluded to by
+Srijon Chowdhury’s distracted mother-infant dyad not foreshadow a latter maternal joy, an
+expulsion of postnatal morbidity?
+
+If we look past the mere a priori and posteriori of the scar we begin its exoneration, its
+acknowledgement as a mode of ‘becoming’ with aesthetic, religious, socio-cultural, and
+adaptive facets. The tattoo reaffirms this, for it not only physically exteriorises the intrinsic,
+symbolically branding the epidermis, but performs the function of ritual by subjecting one to
+the repeated injection of their beliefs. Such Maia Regis’ effaced protagonist, dog and pistol in
+hand, imparts further potency to its all too visceral surroundings via the snake emblem
+ascending their torso, the scar given agency. The kissing silicone sculptures of Casja von
+Zeipel too recall this piercing and tinting of the skin through selective transparencies and the
+emulation of a cracked reptilian dermis undergoing ecdysis (molting), further inscribing their
+hyper-visiblity by means of their hybridity. Synthetic and organic, their skin, double-layered or
+scaled, appears mechanically superior while still presenting the human characteristic of
+retaining traces, or bearing scars. This dualism, the recalling of an organic anterior, further
+prompt a focus on DNA, one expressed by Adriano Amaral in his employment of natural
+materials such as tree bark and spirulina alongside shapes of contemporary industry. The
+ramifications emerging from Amaral’s tubular structures delineate an ecological scarification
+inflicted upon flora and fauna rather than the human flesh, proposing the solution of
+prosthetics as a method of undoing any damage to the organic. A similar approach lies within
+Jean-Marie Appriou’s sculptures of marine creatures. Displaying a hereditary connection to
+their material makeup, for glass is made out of sand, such works however, conversely,
+emphasize their static adherence to the gallery wall rendering the objet d’art no different to a
+biological specimen. There is no question of hybridity as with Zeipel or Amaral, urging rather
+recognition through a confrontation with artifice.
+
+John Miserendino’s variegated marbles too evidentiate their flesh-like striations in order to
+uncover a particularity akin to DNA. Each marble is modeled after, yet not sculpted to
+resemble a figure, breaking with a tradition of purity (white-ness) and the relative anonymity
+of material by accentuating surface lesions and vivid chromatic schemes. The notions of
+transmission and trace exist not only within such marbles, for through the work of Muriel
+Abadie an idea of recollection, of one's personal rather than cultural history surfaces with
+the sketch. Abadie seeks to access a realm of the familiar, to awaken in all of us a forgotten
+memory that can appear through the visual. Her urge is collective, remembrance as
+protection against temporal perdition. Within our efforts to heal, perhaps the same can be
+said for the cicatrice...
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+---
+date_start: '05-05-2020 17:21'
+date_end: '11-10-2020 17:21'
+title: 'Lght cages, '
+artistes: 'dillwyn smith'
+media_order: 'Oda Jaune, Galerie Templon, Paris, France 02.jpg'
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+date_one_day: '04-10-2019 20:04'
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+---
+date_start: '05-10-2019 16:27'
+date_end: '11-10-2019 16:27'
+title: 'Nour El Saleh ''Exquisite Farces'''
+media_order: 'Inhabited Props in a Box, 2018.jpeg,Wrong Side of the Table, 2019.jpg'
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+
+Exquisite Farces is the culmination of Nour El Saleh’s residency at VO Curations, a
+curatorial and cultural mediation outfit that are helping usher in a new way for artists to
+inhabit and make use of the rapidly transforming architecture of an austere London. It
+also marks her first foray into the wider world following on from three-years of study at
+The Slade School of Fine Art, London.
+El Saleh’s approach dismisses preparatory drawings; lines and forms are imagined,
+physicalised and placed impulsively to prompt new narrative possibilities. She has
+worked towards the creation of a satirical language to communicate an uncanny rendition
+of her own experiences. With her childhood spent in the United Arab Emirates, a host for
+impermanent residents, El Saleh’s comfort was in a constant state of flux, and through the
+work she grapples with a sense of belonging; deceivingly familiar spaces are tensed with
+anguish and actors, and through the use of theatrical and comical imagery, the artist
+reconciles these two forces.
+The Puppeteer of Karakas evokes the memory of a man playing with puppets in the street
+where El Saleh lives in Beirut. Here, the puppeteer is disguised and plays with four
+eccentric real-life marionettes. Any hint that they might fall into a Mickey Sabbath-like
+world of destitution and depravity is reframed with a sense of homeliness; checkered floor
+tiles and floral wallpaper, which feature as a recurrent backdrop across El Saleh’s scenes.
+Inserting small characters in the eyes and heads of certain protagonists, El Saleh seems
+to play with the apparent roles, and who in fact conducts the scene. A mise en abyme
+occurs, the Puppeteer of Karakas becomes puppeteered, and equally, the motherly figure
+of Wrong Side of The Table loses her intimidating aura, turning into a vessel, a further
+prop in the theatre of El Saleh’s mind. Wrong Side of the Table depicts a juxtaposition
+between a naked bust-figure, sitting at the table provocatively, acting out for the sake of
+being rewarded with attention, which is at odds with a heavily cloaked figure under the
+table, an elderly child, hidden out of view, coaxing attention through her aloofness.
+El Saleh’s characters all seem to resemble each other with similar features: prominent
+noses, dimpled chins and brown hair, almost to the point of appearing cloned in certain
+scenes. All interacting intensely within a domestic interior and little space to roam,
+pronounce the collectivistic atmosphere present across the artist’s paintings. This is
+echoed by the two hybrid characters that sit aside the central figure in Inhabited Props in
+a Box, which although are bickering, at once recall squabbling siblings rather than
+anything untoward; and in this lay the charm of El Saleh’s world. Despite the peculiarity of
+her depictions, on further inspection there lies a familiarity and intimate feeling of the
+‘known’. Representation dissolves, El Saleh seems to abolish the stage, the auditorium
+and have spectators sit within the composition. In an Artaud-esque manner, actors are
+seen to be passive and neutral, while masks, puppets and sock marionnettes rule the set.
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+---
+date_start: '23-05-2019 16:33'
+date_end: '26-07-2020 16:33'
+title: 'Parfum d''épines'
+artistes: 'PHILLIPS X VO CURATIONS'
+media_order: 'Installation Daiga Grantina and Robert Brambora.jpg,Installation Jean-Marie Appriou and Claude Bellegarde.jpg,Installation Jean-Marie Appriou, Muriel Abadie and Claude Bellegarde.jpg,Installation Oda Jaune, Pedro Wirz and Sonya Derviz.jpg,Robert Brambora, Untitled, 2019, Untitled, 2019, and 9 to 5 (2), 2018.jpg,Daiga Grantina, Li Li, 2018 and Victor Man, Flowers with Skeleton and Bear Wrestling, 2012.jpg'
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+
+Phillips x VO Curations are pleased to present a novel reading of Charles Baudelaire's collection of poems Les Fleurs du Mal through the spectrum of contemporary art, exploring the seminal concept of the double postulation that has protruded beyond the literary universe of the French poet. The exhibition features the works of 9 contemporary artists that play upon the duality of the Baudelairian ethos and its fascination for antithetical pairings, the atemporal resonance of what the poet refers to as the "two inseparable abysses of the human soul". Parfum d'épines was supported by Parcours 2019 and Outset Contemporary Art Fund.
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+---
+date_start: '05-08-2019 16:37'
+title: 'PAS DE CORPS Sonya Derviz'
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+
+There exist no bodies, yet collective movement ensues. The canvas surface is flat, yet the power of suggestion engrosses Sonya Derviz's Dancers within the figurative, only to awake us from this mirage through the protrusion of a forceful abstract composition. She aims to simultaneously construct and efface the presence of the recognisable, to insert it within a stream of strokes dragging, rotating, and contorting colour and form within the predefined space of the canvas. The dynamism stirring each layer of wash, the alternation of dispersing blocks of colour with interwoven accents pierces the fabric of the figurative into abstraction. The exhibition was accompanied with a poem, composed by Joshua Leon.
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+---
+date_one_day: '07-12-2019 16:30'
+title: 'SARA BERMAN Matter out of Place'
+media_order: 'Installation Sara Berman.jpg,Installation Sara Berman(1).jpg,Sara Berman, Lint Sweater #37, 2018.jpg,Sara Berman, Lint Sweater #38, 2018.jpg,Sara Berman, Lint Sweater #40, 2018.jpg'
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+
+"It is something rejected from which one does not part, from which one
+does not protect oneself as from an object. (...) It is thus not lack of
+cleanliness or health that causes abjection but what disturbs identity,
+system, order."
+
+- Julia Kristeva
+
+There is an unprecedented struggle for unity and mutuality in this epoch of
+singularity and individualism. The biblical precedes these secular ideals in
+the myth of Babel, with its human element inevitably failing into disparity,
+not just of language but also of socio-cultural context for its collective
+ambitions would become its primary sin. Surrounded by divergent,
+fluctuating value systems, Sara Berman has selected the lowest common
+denominator of mankind as the focal point of her work, as an uncanny,
+debased catalyser in her line of artistic inquiry: 'waste'. A propensity for
+textiles has perhaps indicated Berman in the direction of lint, of drying
+machine filters, which despite her minimal intervention, do not draw one
+immediately towards the abject nature of the piece, but rather ensue an
+auratic dialogue guided by their anthropomorphic quality and vivid
+stratigraphy. This 'matter out of place', waste in the form of the work of
+art (the commodity par excellence) comes to embody the term derived from
+Mary Douglas's seminal study on dirt, not just literally, but through the
+very internal logic of the works. Not only are the fabric remnants
+dislocated from their status as superfluous objects, framed and exhibited
+within the gallery space, but in her attempt to generate discourse Berman
+has created an art object resistant and adhering to any nomenclature, while
+circumventing any positive or negative valences. The works find
+themselves in a latent state; perhaps even one of paradox for an initial
+reaction might contravene a subsequent one upon finding out the medium. 
+From breaking her own dyer at home, to her latter exploration of London
+drycleaners, from the first attempts of gathering the lint in large bags to
+then attaching it to furniture, Berman has redacted her process of making
+to reduce the infliction of her will upon the work as much as possible. This
+however has not created a ready-made, for the immediacy of deskilling is
+replaced by a careful subtraction, while the unique makeup of the works
+would have them tangential to artisanship. Berman selects the lints from
+the filters (very few of which present this distinctive layering) and stiches
+them to pieces of linen without seeking precision. There is an
+inexhaustible web of socio-economic relations, which each wool fibre or
+hair follicle has traversed and can further generate through their
+repurposing in the lint figures. It is perhaps not coincidental that some of
+these should have a convex, circular geometry, occurring in the inferior
+parts evoking thus the maternal or the fertile. The human dimension of the
+works would have it operate like an artefact, even more so now that the
+pieces are exhibited framed for the first time, an equalizing procedure to
+stress their organic, biological aspect. There is only an illusion of
+uniformity as each work is entirely distinct in its 'genetic composition'
+while any separation occurs as an auxiliary, as our own imposed
+estrangement from it. Berman has removed the glass dividing the viewer
+from the 'abject', facilitating either confrontation or familiarization, in
+either circumstance permitting a direct exchange. The rug outside invites
+one into the gallery space while simultaneously deconstructing its
+boundary, playing into the idea of domesticity as a percept for belonging
+and safety while including the nomadic. Berman's inquiry extends into the
+exterior realm, the question remains, is it art, a handful of hair and lint
+from the local drycleaners or simply matter... out of place?
+Smaranda Ciubotaru
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+---
+date_start: '03-07-2019 16:39'
+date_end: '13-07-2019 16:40'
+title: 'URBAN WAVES '
+artistes: 'Andrei Costache, Richie Culver and Morgan Ward'
+media_order: 'Victor Man, Et Al. _Claude Mirrors_, Schinkel Pavillon, Berlin, Germany  .jpeg'
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+The exhibition featured the work of sculptor Andrei Costache and painters Morgan Ward and Richie Culver. Andrei Costache's sculptures proliferate a sentient quality, mirroring a vast spectrum of experiences from one's first visit to London to the infantile joy of watching a new cartoon series. His MDF creations stress their ephemerality through the very nature of their material, far more mobile than traditional mediums such as metal or stone. Morgan Ward is concerned with extending the interaction of colour and form beyond two-dimensionality, both materially and by employing abstracted optical illusions. Richie Culver's works present narratives mirroring those of London housing estates or marginalised residential areas, narratives of domestic heroes or local underdogs.
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