DANIEL VAN STRAALEN - LILA DE MAGALHAES - LUCIA LECI
Curated By ULTRASTUDIO
BAHAR YÜRÜKOĞLU, EWA DORSZENKO, PLASTICITY, JOÃO PAULO SERAFIM
Curated By SCANDALE PROJECT
Re_act Contemporary Art Laboratory
2018 Edition - Azores Islands - 15 - 30 Sept
Commissioned By DRAC Azores
“Coalescence [ noun ] The act of joining together to form a larger mass or number. ”
Coalescence recalls an invitation to create a dialogue in between two different identities. On one hand, the online platform SCANDALE Project, and on the other, the artist run space ULTRASTUDIO. Both curatorial team are pleased to select and connect artists for the Re_Act 2018 residency, to curate a two-in one exhibition.
Foreseen as a matrix, Azores Archipelago tends to the creative and curatorial emulsion while also, being an artwork itself. Therefore, the wild scenario of the residency is an empowering laboratory offering a context to artists and curators.
Thereupon, Azores archipelago embodies a paradigm of our time. Where the virginal andageless land differs from technological, ultra-connected and saturated from contemporary cities and societies. Artists invited by SCANDALE Project and ULTRASTUDIO are subject to reflect and experience the archipelago surroundings, shifting from the usual exhibition background. The residency incarnates an exploration of the artificial and organic experience(s) in a dialogue shaping a coalescence. Coalescence will bring together two curatorial projects, one from SCANDALE Project (Bahar Yürükoğlu, Ewa Dorszenko, Plasticity, João Paulo Serafim) and other from ULTRASTUDIO (Daniel Van Straalen, Lila De Magalahes and Lucia Leuci), linked by the residency’s context to articulate a double exhibition.
EVERYBODY WANTS TO FIND A PINK ISLAND
"Everybody wants to find a pink island"(1) embodies our scenario, in the context of the Azores Archipelago which become the scenery, the quest and the search of an inner paradise through the landscape exuberance. The technological environment of today’s era pushes the boundaries and the need for intense experience, where devices and internet blur the possible limits in between reality and virtuality.
We ask, what remains from the landscape experience ?
The event is no longer the landscape but its experience. As described by Jean Baudrillard(2) the experience is already transformed into hyperreality, flirting with the simulacrum of concreteness. Hyperreality mixes the real with the imagination, therefore virtuality instantaneously submerges itself into reality. The landscape’s virtual existence becomes part of a key-word browsing history pretending to be authentic. However, the landscape is as real as simulated, irresistibly virtual yet frozen into reality.
In this exhibition, the Azores archipelago embodies the concept of heterotopia defined by Michel Foucault(3), a physical space where utopias come to life. This concept layers multiple territories in a localised space which normally wouldn’t co-exist. This otherworldliness, more real, more virtual, core of the experience where the landscape overflows onto the infinite Atlantic. Thus, the scenery invites the contemplation of heterotopia in the age of internet, devices, app and filters directly covering reality. Suddenly virtuality turns reality and heterotopia becomes this other space, dematerialized and paradoxi- cally still anchored in realness.
Each work investigates the experience of the landscape through various approaches. Ewa Doroszenko’s tex- tile work isolates the image, enhancing a digital abstraction. Bahar Yurukolgu contrasts an algorithmic vision of this consumerism era on video; and delivers her printed perception of the landscape by mixing the organic and artificial feeling. Joao Paulo Serafim dematerializes the natural history’s display as part of his ongoing research. Plasticity function as a research tool aiming to understand and gravitate around the condition of the contemporary human habitat.
- SCANDALE PROJECT
(1) DUOLINGO. The sentence was generated by the application while learning an other language.
(2) BAUDRILLARD, Jean. Simulacres et simulations. Éditions Galilée, 1981.
(3) FOUCAULT, Michel. Les hétérotopies, France-Culture, 7 décembre 1966.
Photo credits : Joao Paulo Serafim.