Menu

this light, toxic
Dionne Brand, Dorota Gawęda & Eglė Kulbokaitė,
Barbara Hammer, Diana Policarpo and Leticia Ybarra
Curated with Alejandro Alonso Díaz

Slide image
Time Keepers
Johanna Odersky
5th of September – 17th of October
Slide image

Hard as Horse Hair, Soft as Feathers
Nora Aurrekoetxea
25th of June – 15th of August

Slide image

Where Water Rumbles, Metalloids
Fuentesal&Arenillas, Christian Lagata, Cristina Mejías, Esther Gatón
29th of February – 21st of June

Slide image

this light, toxic
Dionne Brand, Dorota Gawęda & Eglė Kulbokaitė,
Barbara Hammer, Diana Policarpo and Leticia Ybarra
Curated with Alejandro Alonso Díaz

Intersticio is pleased to present ‘this light, toxic’, a group exhibition curated with Alejandro Alonso Díaz. The show presents works and poems by Dionne Brand, Dorota Gawęda & Eglė Kulbokaitė, Barbara Hammer, Diana Policarpo and Leticia Ybarra. The exhibition is accompanied by a text written by Alejandro Alonso Diaz.

This exhibition has been possible thanks to the generous support of Acción Cultural Española (AC/E).

In this light, toxic a world of interconnected particles unwinds through light and sonic vibrations. The different parts of the self are entangled in multiple processes of toxicity: from the physiological to the environmental, from the psychic to the sensorial.

The exhibition examines how our perception is embedded in toxic objects and bodies through our corporeal membranes, senses, and tissues. Isn’t “light pollution” an euphemism for the pollution of human, animal, and plant vision? Doesn’t this coy expression build on an ancient analogy between the inner luminosity delimited in the eye and the immeasurable light of the element, notably fire?1

this light, toxic is a proposition to engage with the profanation of silence and the perversion of imagesas they cut across multiple levels of existence. Breaking through our dreams, pesticides, relations, metaphysical dimensions, radioactive materials, sounds and shadows, the smell of toxicity, like a poisonous flower we breathe in, becomes us.

1
Marder, Michael
Being Dumped
Environmental Humanities
(2019) 11 (1): 180–193

Alejandro Alonso Díaz (ESP) is a curator, writer and researcher whose work explores the metabolic encounters between natural, social and poetic structures of knowledge. He is the founding director of fluent, a para–institution dedicated to artistic research. His writing on art, moving image and nature has been published in magazines including Frieze, Terremoto, Mousse and several exhibition catalogues. His practice is concerned with epistemologies around notions of environmentalism, love and neo–feudal communality, often grounded in an enquiry into other forms of existence, and rehearsing radical ways of otherness. He has curated and participated in projects for the Serpentines Galleries, London; Matadero, Madrid; Chisenhale, London; 18th St Arts Centre, Los Ángeles; the Athens Performance Biennale; Tenderpixel; Fundación Botín; P/////AKT, Amsterdam and Jupiter Woods among many others. Currently he serves as an associate curator at Fundación Sandretto Re–Rabaudengo.

Dionne Brand (CA) has a legion of literary credentials. Her latest novel, Theory, won the 2019 OCM BOCAS Prize for Caribbean Literature, and was a Globe and MailBest Book. Her latest poetry collection, The Blue Clerk,was shortlisted for the Griffin Poetry Prize and won the Trillium Book Prize. Her collection Ossuarieswon the Griffin Poetry Prize, and other collections have won the Governor General’s Literary Award, the Trillium Book Award and the Pat Lowther Memorial Award. Among her novels, In Another Place, Not Here was selected as a NYT Book Review Notable Book and a Best Book by the Globe and Mail; At the Full and Change of the Moon was selected a Best Book by the LA Times; and What We All Long For won the Toronto Book Award. In 2006, Brand was awarded the Harbourfront Festival Prize for her contribution to the world of books and writing, and from 2009 to 2012 she served as Toronto’s Poet Laureate. In 2017, she was named to the Order of Canada. Brand is a Professor in the School of English and Theatre Studies at the University of Guelph. She lives in Toronto.

Dorota Gawęda (PL) and Eglė Kulbokaitė (LT) are an artist duo established in 2013 and based in Basel (CH). Their work spans performance, installation, fragrance, sculpture, video and drawing. They have exhibited internationally including: Swiss Institute, New York ( 2020); Den Frie, Copenhagen (2020); MWW, Wroclaw (2020); Kunstverein Düsseldorf ( 2020 and 2016); Lafayette Anticipations, Paris (2019); Palais de Tokyo, Paris (2018); MMOMA, Moscow (2018); Kunsthalle Basel (2017); ICA, London (2017); MOMA, Warsaw (2016) among others. Their recent solo shows include presentations at: Julia Stoschek Collection, Düsseldorf (2020); OnCurating, Zürich (2020); Body Archive, Zürich (2020); Trafo Gallery, Budapest (2020); Amanda Wilkinson Gallery, London (2020 and 2018); Fri Art – Centre d’Art de Fribourg / Kunsthalle Fribourg and Wallriss (2020); Futura, Prague (2019); Lucas Hirsch Gallery, Düsseldorf (2018); Cell Project Space, London (2018). Upcoming exhibitions include: Swiss Performance Award, Le Grütli, Geneva; Lucas Hirsch Gallery, Düsseldorf (solo); Istituto Svizzero, Milan ( performance); Swimming Pool, Sofia (solo) . The duo are also the founders ofYOUNG GIRL READING GROUP ( 2013 – ) and co-initiators of it’s online archive hosted by ARIEL, Copenhagen.

Barbara Hammer (USA) was born in Hollywood in 1939. Her documentary and experimental films are considered among the earliest and most extensive representations of lesbian identity, love, and sexuality. Accompanying her career as a filmmaker, Hammer has time and again worked with performance and installation. She has participated in group exhibitions such as the Whitney Biennial in 1993, the WACK! show at MOCA L.A. and MoMA PS1 in 2007/2008. With film retrospectives at New York’s MoMA in 2010 and the Tate Modern, London, in 2012, the artworld’s interest in Hammer’s work has recently increased. Hammer has been a teacher for many years and held a professorship at the European Graduate School in Saas-Fee (CH). She died in 2019.

Diana Policarpo (PT) is a London based visual artist and composer whose work consists of visual and musical media, including drawing, score, sculpture, acoustic composition, performance and multi-channel sound installations. She finished her MFA at Goldsmiths in 2013. Her work investigates power relations, popular culture and gender politics, juxtaposing the rhythmic structuring of sound as a tactile material within the social construction of esoteric ideology. She has recently had solo exhibitions at GNRtion, Biennal of Contemporary Arts, Braga, PT (April 2019), Belo Campo / Galeria Francisco Fino, Lisbon, PT (2018) or Kunstverein Leipzig, DE (2017). Her work has also been included recently in group exhibitions at Museu de Arte Contemporânea de Elvas (MACE), Elvas, PT (2020) or Museum of Art, Architecture and Technology (MAAT), Lisboa, PT (May 2019). Policarpo has presented performances and readings at Passos Manuel, Porto, PT; Kunsthall Oslo, NO; LUX – Moving Image, The Lexington, Tenderpixel Gallery, Institute of Contemporary Arts (ICA), Cafe OTO, Pump House Gallery, IMT Gallery and Whitechapel Gallery in London.

Leticia Ybarra (ESP) is a poet, artist and curator. She runs the department of Literature and Thought of La Casa Encendida (Madrid, Spain), where she also curates the festival ‘Gelatina’, among other projects. She is shortly publishing her first book of poems with Caniche Editorial (2021). Her poetry and artistic work deals with universes around the child’s world, of dreams, fantasy and religion, appropriating its nonlinear fecundity to deal with trauma, their relation with the body or the concept of death; as well as to explore questions of reproduction and non-normative architecture. Recently, her work has been exhibited as part of ‘pen pressure: a show of poetry, fantasy and faith’ in Haus Wien (Vienna, September 2020), PoemRoom (Madrid, March 2020), This is Jackalope (Madrid, December 2019) or Centre del Carme Cultura Contemporánea (Valencia, September 2019).

Text by Alejandro Alonso Díaz (PDF)

Download Press Release + List of Works (PDF)

Slide image

Installation view

Photography: Theo Christelis

Slide image

Installation view

Slide image

Installation view

Slide image

Time Keeper I
Watercolor on paper
(22,9×30,5 cm)
Frame made of thermoplastic,
silk paper, and steel.
Variable Measurements
2020

 

Time Keeper II
Watercolor on paper
(22,9×30,5 cm)
Frame made of thermoplastic,
silk paper, and steel.
Variable Measurements
2020

Slide image

Time Keeper II
Watercolor on paper
(22,9×30,5 cm)
Frame made of thermoplastic,
silk paper, and steel.
Variable Measurements
2020

 

Time Keeper III
Watercolor on paper
(22,9×30,5 cm)
Frame made of thermoplastic,
silk paper, and steel.
Variable Measurements
2020

Slide image

Time Keeper I
Watercolor on paper
(22,9×30,5 cm)
Frame made of thermoplastic,
silk paper, and steel.
Variable Measurements
2020

Slide image

Time Keeper II
Watercolor on paper
(22,9×30,5 cm)
Frame made of thermoplastic,
silk paper, and steel.
Variable Measurements
2020

Slide image

Time Keeper III
Watercolor on paper
(22,9×30,5 cm)
Frame made of thermoplastic,
silk paper, and steel.
Variable Measurements
2020

Slide image

Types of Clouds I
Oil on canvas
(55×50 cm)
2020

Slide image

Types of Clouds II
Oil on canvas
(55×50 cm)
2020

Slide image

Types of Clouds III
Oil on canvas
(55×50 cm)
2020

Slide image

Types of Clouds II
Oil on canvas
(55×50 cm)
2020

 

Types of Clouds III
Oil on canvas
(55×50 cm)
2020

Next
Previous
Time Keepers
Johanna Odersky
5th of September – 17th of October

Intersticio is proud to present Johanna Odersky’s first solo show in the UK.

Johanna Odersky (Swiss, b. 1993) is a visual artist and musician based in Frankfurt am Main. She is a graduate from the Hochschule für Bildende Künste – Städelschule and studied in the class of Judith Hopf. Much of her work revolves around exploring how human experience is organized and embodied and how relationships between body, mind and the external world are always and necessarily situated in discursive power relations. These questions are echoed in her musical work and performances, which she produces under the name of “Iku” Her work has been shown in festivals, galleries and other art spaces across Europe in Japan, Mexico and the US.

For those far away or unable to attend you can now do an online tour through this link: https://my.matterport.com/show/?m=oB3jwqv96r9

Press Release (PDF)

Artist's CV (PDF)

Slide image

Installation View

Photography: Theo Christelis

Slide image

BIKI 1_
Plaster, fibre glass,
jesmonite pigment,
stainless steel rebar,
steel rebars
90x157x36 cm

 

_OHE GRISA_
Plaster, fibre glass,
jesmonite pigments
and metal bars
138x71x8 cm

Slide image

Installation View

Slide image

Installation View

Slide image

Installation View

Slide image

_HIRU_
Plaster, fibre glass,
jesmonite pigment,
stainless steel rebar,
steel rebar
91x65x54 cm

 

_OHE ZURIA_
Plaster, fibre glass
and metal bars
100x57x5 cm

Slide image

_HIRU_
Plaster, fibre glass,
jesmonite pigment,
stainless steel rebar,
steel rebar
91x65x54 cm

 

_OHE ZURIA_
Plaster, fibre glass
and metal bars
100x57x5 cm

Slide image

Detail of _CANDLE CHAIN
Parafine wax,
bee wax wick,
stainless steel chain
variable dimensions

_HOLE1_
Parafine wax, bee wax wick
variable dimensions

_HOLE2_
Parafine wax, bee wax wick
variable dimensions

Slide image

_HOLE1_
Parafine wax, bee wax wick
variable dimensions

 

_PLATE
4 plaster discs, jesmonite pigments
variable dimensions

Slide image

bat_
Plaster, fibre glass and stainless steel bar
75x60x15 cm

Slide image

_PLATE
4 plaster discs, jesmonite pigments
variable dimensions

Slide image

_CHAIN_
Galvanised metal chains
51x15x4 cm

Slide image

_HOLE2_
Parafine wax,
bee wax wick
variable dimensions

 

_HOLE3_
Parafine wax,
bee wax wick
variable dimensions

Slide image

_V3/6_
Parafine wax
65x49x2 cm

Slide image

_HOLE_
Parafine wax,
bee wax wick
variable dimensions

Slide image

Detail of _CANDLE CHAIN
Parafine wax,
bee wax wick,
stainless steel chain
variable dimensions

Slide image

Detail of bat_
Plaster, fibre glass
and stainless steel bar
75x60x15 cm

Slide image

Detail of BIKI 1_
Plaster, fibre glass,
jesmonite pigment,
stainless steel rebar,
steel rebars
90x157x36 cm

Slide image

Detail of bat_
Plaster, fibre glass
and stainless steel bar
75x60x15 cm

Next
Previous

Hard as Horse Hair, Soft as Feathers
Nora Aurrekoetxea
25th of June – 15th of August

Intersticio is pleased to present Nora Aurrekoetxea’s first solo exhibition in London.

We access a space where we recognise each other’s absence. The action has taken place; fading bodies, breaths, extinguished flames or, maybe, the preparation of a communion to come. We enter into a fugitive state, a fugitive path, a space for complicit love.1

Navigating remnants of the domestic, some hard as horse-hair, some soft as feathers2, we are witnesses of a conspiracy that still seems to be present.

But who was there?

The central figures were others, the borders are now the centre and, between the absent bodies, we intuit an accomplice who demands not to be one,

to be more than one,
to be other than one.

Vestiges of an epistemology other, that comes from a place that has been denied – a place that is offered so that it may be conquered, to conspire towards its conquest, drawing together a conspiracy without a plot.4

The artist offers a complicit scenario, a witness to a run away, to a knowledge in motion, to care and to resistance – a shared space that seeks to bear witness to a radical sociability. To put ourselves in risk, to allow access, to be possessed by a dispossession. A space of escape, in plain sight, without direction or plot.5

Between empty mattresses we encounter the remains of moulded bodies no longer present, shaping an obscure narrative through their trajectory of affects.

The artist guides us through latent presences of witches and sorceresses, magicians, the border figure, whose body is neither male nor female, neither animal nor human, neither young nor old, neither alive nor dead.6 She offers the scenario of a rite, a detonating, a navigable space for an encounter.

The forms are contained and dissipating. Inks, shapes and traces are made to relate their condition; they are hosts of a story accessible on their inner parts: smooth, soft, permeable, sharp – about to overflow, escaping the iron structures, an entering into a tense dichotomy between support and limitation. Rotted chains on the wall. Condensed forces – from liquid to solid, from gas to liquid – inherited and perverted, palpable on those unlighted candles that anticipate the recommencement of the ceremonial.

Aurrekoetxea invokes a multiplicity inside us, invites us to pause, to choose a space, to get rid of the fear of putting ourselves in danger in this collective conspiracy. Hear the inaudible, feel what has not been felt, never consent to be a single being.7

Cristina Herraiz Peleteiro

Stefano Harney and Valentina Desideri, “A Conspiracy without a Plot” in The Curatorial: A Philosophy of Curating, ed. Jean-Paul Martinon (London: Bloomsbury, 2013)
2 Woolf, Virginia. A Room Of One’s Own. (London: Hogarth Press, 1929). p.73
3 Fred Moten, Black and Blur (consent not to be a single being) (Durham: Duke University Press, 2017)
4 Stefano Harney and Valentina Desideri, “A Conspiracy without a Plot” in The Curatorial: A Philosophy of Curating, ed. Jean-Paul Martinon (London: Bloomsbury, 2013)
5 Idem
6 Timofeeva, Oxana. (2019). What Lenin Teaches Us About Witchcraft. E – flux. (Journal #100) Seen on: https://www.e-flux.com/journal/100/268602/what-lenin-teaches-us-about-witchcraft/
7 Fred Moten, Black and Blur (consent not to be a single being) (Durham: Duke University Press, 2017)
Nora Aurrekoetxea (b. 1989, Bilbao) received her BFA from the University of the Basque Country (Bilbao, Spain) in 2003 and completed her MFA in the Royal College (London, UK) in 2017. She received the Botín Foundation Scholarship (2017) and has been an artist in residence at the Cité Internationale des Arts of Paris (2018) and the Solomon R. Guggenheim of New York (2018). She has been awarded with the ARCO prize of the city of Madrid (2020) and ERTIBIL (2020), and her work is part of the permanent collection of the museum Ca2m (Madrid, Spain). She is opening her first solo show in Madrid in September 2020 at Juan Silio gallery.
For those far away or unable to attend you can now do an online tour through this link: https://my.matterport.com/show/?m=oB3jwqv96r9

 

Press Release (PDF)

Slide image
Esther Gatón
Detail of Adrenaline Querubín, 2020 
Spray paint and wall paint
site-specific intervention
Slide image
Esther Gatón
Detail of Adrenaline Querubín, 2020 
Spray paint and wall paint
site-specific intervention
Slide image
Esther Gatón
Detail of Adrenaline Querubín, 2020 
Spray paint and wall paint
site-specific intervention
Slide image
Esther Gatón
Detail of Adrenaline Querubín, 2020 
Spray paint and wall paint
site-specific intervention
Slide image
Esther Gatón
Detail of Adrenaline Querubín, 2020 
Spray paint and wall paint
site-specific intervention
Slide image
Esther Gatón
Detail of Adrenaline Querubín, 2020 
Spray paint and wall paint
site-specific intervention
Slide image
Esther Gatón
Detail of Adrenaline Querubín, 2020 
Spray paint and wall paint
site-specific intervention
Slide image
Esther Gatón
Detail of Adrenaline Querubín, 2020 
Spray paint and wall paint
site-specific intervention
Slide image
Cristina Mejías
To Capture the Shape, to Change the Anecdote, 2019
Red wood, ebony and bone 
60 x 35 x 0.5 cm

Cristina Mejías
Makers, 2019
Bent wood
174 x 60 x 0.2 cm 
160.5 x 60 x 0.2 cm
 
Christian Lagata,
Untitled (Image), 2020
Textured glass and hemp skein
2 x 60 x 50 cm
Slide image

Cristina Mejías
Detail of Makers, 2019
Bent wood
174 x 60 x 0.2 cm 

160.5 x 60 x 0.2 cm

Slide image
Cristina Mejías
Detail of Makers, 2019
Bent wood
174 x 60 x 0.2 cm,

160.5 x 60 x 0.2 cm
Slide image
Cristina Mejías
Detail of Makers, 2019 Bent wood
174 x 60 x 0.2 cm 

160.5 x 60 x 0.2 cm
Slide image

Fuentesal&Arenillas
Movement Writing, 2019
Handcut MDF Sculpture
200 x 127 x 12 cm

 

Christian Lagata
Untitled (Image), 2020
Textured glass and hemp skein
2 x 60 x 50 cm

Slide image
Fuentesal&Arenillas
Detail of Movement Writing, 2019
Handcut MDF Sculpture
200 x 127 x 12 cm
Slide image

Christian Lagata
Untitled, 2018
Tyre, Aluminium Elbows
25 x 25 x 15 cm

 

Christian Lagata
Untitled (Exercise), 2019
Aluminium Profiles and Sapelli Wood
8 x 120 x 8 cm

Slide image
Where Water Rumbles, Metalloids
2020, Installation View
Next
Previous

Where Water Rumbles, Metalloids
Fuentesal&Arenillas, Christian Lagata, Cristina Mejías, Esther Gatón
29th of February – 21st of June

Intersticio and SCAN Projects are very pleased to present ‘Where Water Rumbles, Metalloids’, the group exhibition that inaugurates their recent collaboration at 469 Bethnal Green Rd. London E2 9QH.

Cristina Herraiz on the site-specific intervention for this exhibition by Esther Gatón, Adrenaline Querubín

When H.G. Wells published in 1895 his novel ‘The Time Machine’ it was classified as science fiction. Pure speculation, fantasy; no one could believe such a gadget would ever exist, the possibility of navigating between dimensions finally open. However, only ten years later, Albert Einstein presents his Theory of Relativity, opening the possibility of travelling through dimensions when exposing the exceptional behaviour bodies have outside of gravitational forces, and unifying the concepts of space and time. This radical theory provokes a crash in the thought of an era that is coming to an end, inaugurating possibilities of massive extermination, but also favouring the speculative thought that would fissure the ossified reality of the beginning of the century.

These ‘time machines’ become spaces for exception, for fantasy, a vortex to access a space other where everything may be possible. The site-specific intervention of Esther Gatón, in the style of a dysfunctional time machine, proposes a journey that starts with form – that surrounds us, insulates us, a ‘non-space’– and transforms to speed. We navigate through an intuitive and kaleidoscopic formal process, waving between contention and journey. Gravity pumps and dissolves when entering the room.

We sense gestures and accidents navigating indiscernible languages, while we try to delineate them following a twisted gaze, spinning at different heights, like a map we need to unveil. Nevertheless, we lose the sense of space, we let ourselves be surrounded, we only recognise the machinery thanks to those cables, lights, and plugs, that suggest the function of an experience that equally bursts and veils. We inhabit a void that is no longer such, and it embraces us, submerged in reminiscencesand temporalities difficult to classify, while, we dissipate a memory that remains extending between layers.

Are empty spaces, as Marcuse put it, places toaccess and, finally, think what we are going to do?1 Are we being offered the possibility to speculate about that, that hasn’t yet been named?

The artist proposes an attentive gaze at a stunning speed that absorbs us: a celebration of pure life collapsing. It shakes us and, finally, it expels us, or rather holds us, depending on what we find there. This temporality, this separated dimension, demands us to question who can access these spaces and which subjectivities are welcome.

The inescapable epic of paint as an immemorial technique and format, sets in motion different forces – both centrifugal and centripetal – leaving us in the middle, questioning an experience that contains intention and accident, magic and rip. It pretends to evade and/or question power dynamics split over the gaze of the spectator, through a non-objective journey along the space.

We find ourselves absorbed, maybe, in a mutable machine, that wants to be an outbreak, or a germ. A stage that may devour us, while allowing for musings, vibrations and, even, feasts.

1
Herbert Marcuse
An Essay on Liberation
1969

Javier Chozas on the group show by Fuentesal&Arenillas, Christian Lagata and Cristina Mejías.

Peter Sloterdjik says [in Foams] that we are isolated units passing through a happy and nervous breeding ground. Protected in our bubble, we float in a light and dynamic universe in which we stop by rubbing ourselves against others. Sometimes chance connects us with other bubbles, which seem to have a similar direction to ours, and the floating mass grows creating inertia, making itself visible. The artists from Where the water rumbles are related bubbles that transit the space of creation floating in a synchronous and conscious way. The equations that define their research processes describe harmonious and compatible trajectories in a global scenario in which the roar of the rumbling of the waterfalls is thunderous.

Of these trajectories, perhaps that of Cristina Mejías’ work is the most precise, describing silhouettes along her path drawn with a scalpel over a sentient matter, a human and emotional space that her work approaches from disciplines such as history, anthropology or mythology. The precision of her works contrasts with the speculative space to which they take us, foam bombs that explode as we approach, leaving us happily lost, without the need to flee. Cristina’s work invites us to look at a pointing finger, at a distant star, at the movement of a dancing arm.

This same speculation irrigates the creative space of Christian Lagata, who like a good flâneur and bricoleur, runs like a restless bubble through the streets, letting himself be impregnated with accents, hazards, which end up converging in the node of force that is his studio. One wonders how many combinations of materials, how many fruitful encounters chance or circumstances have not wanted to allow to prosper and have been suspended in some corner or one night as unfinished sentences, unfinished ties. In Christian’s work, foams pass close to the ground, in riverbeds and sewers, they jump waterfalls, sometimes they turn to look…and they never stop.

Finally, there is a foam, that of the sea and beer, that is uncontrollable, unpredictable, like the practice of Fuentesal and Arenillas. Julia and Pablo build, modify, remake and propose from the studio a universe of complex games that seduce us and that are like drawings on the beach: sharp strokes that disappear very quickly and that only leave behind a trace, a slight proof that basically everything is a game. Two artists who talk to each other and play face to face building doodles full of overlapping anecdotes, creating systems, Alpine pencil nebulae like the ones we used to make when we were little and those that only a few are capable of doing when we grow up.

The water reaches the rock and only the foam jumps it to continue downstream.

Download press release (PDF)