in-between loops @Amphicar Studio
5th May - 14th May 2023
NON VOLATILE group exhibition curated by Faidra Vaileiadou
In the context of the artistic community, or even beyond, the workspace or office constitutes the usual place of work, production, and management of daily life with all that it entails. With this desk as a confined space or object, we engage in a daily physical dialogue that often goes unrecorded. Physical pressure, gentle tactile relationships, repetitive movements, a sense of familiarity—often, a part of our physical weight is left on it in an almost automated manner.
An object that can function as both a space for collaborative interaction among individuals and a personal retreat for solitude—a paradoxical setting where an artist’s body engages in a daily struggle. This personal wrestle persists, aiming to maintain a constant presence in the visual foreground, resisting dissolution within the toxicity of the art world.
The article ‘Stage in a Cage’ featured in the issue of the themed magazine MacGuffin, ‘The Life of Things – The Chain,’ discusses wire mesh—a once purely utilitarian, inexpensive industrial material that acquired an aesthetic character primarily in the realm of professional wrestling. It notably took on new dynamics through the construction of the chain cage. This rough material, associated with confinement and isolation, creates a hazy visibility, akin to a fog that the human eye adapts to easily.
The composition of the aforementioned object and material (work desk - wire mesh) , like a surface not solid, slightly sinking held by tensioners that allow a sense of oscillation. The artist’s body that comes into contact with this desk might be engaged in a game of wrestling. This type of theatrical wrestling exists within the artistic community, a confined framework with a tendency for incorporation to somehow prevent us from dissipating. A kind of personal struggle not to get lost in the intricacies of this artistic struggle - toxicity, as mentioned in the article ‘Gimmicks are the bread and butter and essential life force of wrestling.’
The art world is largely shaped by an individualistic approach, often necessitating an understanding that we coexist. In this context, the concept of collective care becomes essential, especially when navigating a system that frequently demands adherence to certain artistic patterns. Katerina’s thoughts and the process behind her work explore this question: How can we avoid dissipation of our creative energy? Where do we position ourselves in this struggle—inside or outside the frame, observing it? Should we navigate through these wrestling boxes, ignoring them, and what consequences might that entail?
She believes that challenges persist both within and outside these boundaries.