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Claro del bosque
Josefina de Anjou, Nora Aurrekoetxea, Lucía Bayón, Isabella Benshimol, Julia Creuheras, Diego Delas, Andrés Izquierdo, Maren Karlson, Paul Maheke y Johanna Odersky
13 de marzo – 22 de mayo

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this light, toxic
Dionne Brand, Dorota Gawęda & Eglė Kulbokaitė,
Barbara Hammer, Diana Policarpo y Leticia Ybarra
Curated with Alejandro Alonso Díaz
3rd of December – 20th of January

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Crowded Mutability in the Unstable
por Josep Barnadas
Exposición online

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Time Keepers
Johanna Odersky
5 Septiembre – 17 Octubre
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Vista de exposición

Fotografía: Pablo Gómez-Ogando

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Diego Delas
Sol Invictus (Broken Map), 2019.
Tintas, oleo acrílico y gouache, papel de lija y acero dulce sobre papel y madera.
161,5x147x4 cm.

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Vista de exposición

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Vista de exposición

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Nora Aurrekoetxea

_Plate, 2020

Cuatro discos de escayola

y pigmentos de jesmonita

Medidas variables

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Julia Creuheras
Fuente de Talismanes, 2020. Hilo de plata tejido, clavo, fieltro, huevo de avestruz, motor y chip. 70×40 cm.
 

Nora Aurrekoetxea

_Chain_, 2020

Cadenas metálicas

galvanizadas

51x5x4 cm

 

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Julia Creuheras
Fuente de Talismanes, 2020 Hilo de plata tejido, clavo, fieltro, huevo de avestruz, motor y chip. 70×40 cm.

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Nora Aurrekoetxea

_Chain_, 2020

Cadenas metálicas

galvanizadas

51x5x4 cm

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Vista de exposición

 

Josefina Anjou

Portrait by the window, 2020

Óleo sobre lienzo

62×42 cm

 

Lucía Bayón

Leveler II, 2021

Jesmonite, resina de

colofonia, resina de peza negra

74x40x34 cm

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Josefina Anjou

Portrait by the window, 2020

Óleo sobre lienzo

62×42 cm

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Lucía Bayón

Leveler II, 2021

Jesmonite, resina de

colofonia, resina de peza negra

74x40x34 cm

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Johanna Odersky

Time Keeper IV, 2020

Acuarela sobre papel,

termoplástico, papel de seda

y acero

40×60 cm

 

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Lucía Bayón

Tempered I, 2020

Cemento sobre tabla,

masilla epoxi, carbón,

resinas vegetales, goma

laca, hierro forjado

30x60x3 cm

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Maren Karlson

Viriditas, 2020

Lápiz sobre lienzo

48,2×35,5 cm

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Maren Karlson
Pupa’s Path, 2020 Lápiz sobre lienzo.
48,2×35,5 cm.

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Maren Karlson
Moth’s Wing, 2020
Lápiz sobre lienzo
48,2×18,4 cm

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Maren Karlson
Leaf Song, 2020
Lápiz sobre lienzo
18,4×24,1 cm

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Lucía Bayón

Stubborn, 2020

Pulpa de papel, cola,

harina, siena natural,

siena tostada, pez negra,

goma laca, algodón,

hierro forjado.

60×20,5×120 cm

 

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Isabella Benshimol

Salmonella Superbugs, 2019

Resina de poliester transparente,

desmoldante oro de 18K,

dientes de leche y camiseta

120x80x35 cm

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Josefina Anjou

Cloudpainting 1, 2020

Óleo sobre lienzo,

madera seca, roble

tintado, esparadrapo

44,5×49 cm

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Josefina Anjou
Cloudpainting 2, 2020 Óleo sobre lienzo, madera seca, roble tintado, esparadrapo.
45×59 cm.

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Andrés Izquierdo

Departure (mesa), 2021

Madera, poliestireno,

acero, parafina, malla de

vela, barniz sintético

150x150x115 cm

 

Permanence (silla), 2021

Réplica de la silla Masters

de Philippe Starck

silla, parafina, barniz

sintético

80x45x45cm

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Paul Maheke

OOLOI, 2019

Instalación de materiales

mixtos: cortinas, proyección

laser, pintura de pared,

cobre oxidado and esferas

de latón e impresión

digital en vinilo

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Paul Maheke

OOLOI, 2019

Instalación de materiales

mixtos: cortinas, proyección

laser, pintura de pared,

cobre oxidado and esferas

de latón e impresión

digital en vinilo

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Diego Delas
Black Moves Knight / Draws a Line / Makes the Trick, 2015.
Gouache, tinta acrílico y lapiz sobre papel, reglas y madera.
177x148x5 cm.

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Julia Crehueras
Holy Motors, 2020. Galio, estaño, yeso, motor y chip. 30×20 cm.

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Diego Delas
Los Lares (Demonio Cabezabajo), 2019
Madera contrachapada, tela metálica, arcilla sin cocer, escayola, cemento, tintas, algodón y cola
35x31x28 cm

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Lucía Bayón
Tempered I, 2020
Cemento sobre tabla, masilla epoxi, carbón, resinas vegetales, goma laca, hierro forjado 40x60x3 cm

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Paul Maheke
Mago Sessar, 2018 HD video (12 min)

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Paul Maheke

OOLOI, 2019

Instalación de materiales

mixtos: cortinas, proyección

laser, pintura de pared,

cobre oxidado and esferas

de latón e impresión

digital en vinilo

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Paul Maheke

OOLOI, 2019

Instalación de materiales

mixtos: cortinas, proyección

laser, pintura de pared,

cobre oxidado and esferas

de latón e impresión

digital en vinilo

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Paul Maheke
Les Jaraux, 2019
vinilo impreso
cortesía del artista y Galerie Sultana

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Claro del bosque
Josefina de Anjou, Nora Aurrekoetxea, Lucía Bayón, Isabella Benshimol, Julia Creuheras, Diego Delas, Andrés Izquierdo, Maren Karlson, Paul Maheke y Johanna Odersky
13 de marzo – 22 de mayo

Intersticio presenta “Claro del bosque”, exposición con la que se inaugura el nuevo espacio en Madrid en la calle Alcántara 31, un año después de la apertura en Londres. 

La exposición colectiva presenta obras de Josefina Anjou (SE), Nora Aurrekoetxea (ESP), Lucía Bayón (ESP), Isabella Benshimol (VE), Julia Creuheras (ESP), Diego Delas (ESP), Andrés Izquierdo (ESP), Maren Karlson (DE), Paul Maheke (FR) y Johanna Odersky (CH), explorando los espacios, símbolos, poéticas y rituales vinculados a lo oculto, lo colectivo y su poder sanador y empoderador.

“El claro del bosque es un centro en el que no siempre es posible entrar1.” Cruzamos un umbral hacia un deseo, un sueño, una visión, un lugar para la comunión y para el reencuentro. Es centro productor, pero también el comenzar de una salida. Un espacio de conspiración y susurro, donde navegan fantasmas desvalidos, elucubraciones de futuros y recuerdos escondidos.

El acceso se presenta como accidental, frontal, de noche o de día, es una sorpresa, un porvenir. ‘Es la lección inmediata de los claros del bosque: no hay que ir a buscarlos, ni tampoco ir a buscar nada de ellos2

Aparecen imágenes sostenidas, rememorando vidas encontradas, soplos, deslumbramientos, reliquias de un sueño. Lugares certeros que alumbran un camino,
en ocasiones sesgado. Mapas ciegos que nos sacuden. 

No sabremos cómo entramos
ni recordaremos la salida,
si un claro del bosque nos invita a acceder su sentir originario.

Espacio de profecías, saberes latentes y negados. Rituales diseminados en haceres otros, lugares de proposición que burlan una razón limitante. 

Un escenario para la curación sin saber tan solo cuánto dura ese instante. Un marco para un ritual, atisbos de luz y oscuridad, susurros que atraviesan los pies.

Cruzamos el umbral y mutamos de cuerpos, circulando por un espacio de adoración y pausa, ensoñación y vacío, donde sombras,
juegos,
planos fallidos,
nos envuelven presentando la escucha de las voces del sustrato. 

El claro del bosque es una ofrenda, una curación. Un lugar de encuentro donde mudar de piel, remodelar el vacío, escucharnos, un espacio para un renacer colectivo. 

Y la luz, que aún brilla discordante, se muestra sobre un cielo “discontinuo, él mismo un claro también3 .

1. Zambrano, María. Claros del bosque. (Barcelona: Seix Barral, 1977), p.27
2. Ibid, p.27
3. Ibid, p. 30
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Installation view

Photography: Theo Christelis

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Installation view

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Dorota Gawęda
and Eglė Kulbokaitė
Hexanol III (2019)
Steel, meadow
Variable Dimensions

 

Leticia Ybarra Pasch
and the movement remains,
written in their cocoon (2020)
Wood, cloth, xuan paper
and black ink
15×10 cm (x2)
18×13 cm (x2)
8×5,5×6,5 cm (x2)

 

Diana Policarpo
Visions of Excess (2015)
Light and sound installation
Sound poem: 10’28» (on loop)

 

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Barbara Hammer
Endangered (1988)
Color, sound, 16 mm
film on video
18:02 min (on loop)

 

Dorota Gawęda
and Eglė Kulbokaitė
Hexanol III (2019)
Steel, meadow
Variable Dimensions

 

Diana Policarpo
Visions of Excess (2015)
Light and sound installation
Sound poem: 10’28» (on loop)

 

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Leticia Ybarra Pasch
and the movement remains,
written in their cocoon (2020)
Wood, cloth, xuan paper
and black ink
15×10 cm (x2)
18×13 cm (x2)
8×5,5×6,5 cm (x2)

 

Dionne Brand
Extracts from Thirsty (2002)
and Ossuaries (2010)

 

 

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Leticia Ybarra Pasch
and the movement remains,
written in their cocoon (2020)
Wood, cloth, xuan paper
and black ink
15×10 cm (x2)
18×13 cm (x2)
8×5,5×6,5 cm (x2)

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Dionne Brand
Extracts from Thirsty (2002)
and Ossuaries (2010)

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Dionne Brand
Extract from Thirsty (2002)

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Dionne Brand
Extract from Ossuaries (2010)

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Dionne Brand
Extract from Thirsty (2002)

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Barbara Hammer
Endangered (1988)
Color, sound, 16 mm
film on video
18:02 min (on loop)

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Barbara Hammer
Endangered (1988)
Color, sound, 16 mm
film on video
18:02 min (on loop)

Slide image

Barbara Hammer
Endangered (1988)
Color, sound, 16 mm
film on video
18:02 min (on loop)

Slide image

Barbara Hammer
Endangered (1988)
Color, sound, 16 mm
film on video
18:02 min (on loop)

Slide image

Barbara Hammer
Endangered (1988)
Color, sound, 16 mm
film on video
18:02 min (on loop)

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this light, toxic
Dionne Brand, Dorota Gawęda & Eglė Kulbokaitė,
Barbara Hammer, Diana Policarpo y Leticia Ybarra
Curated with Alejandro Alonso Díaz
3rd of December – 20th of January

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 images as 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).

Intersticio is pleased to present ‘Crowded Mutability in the Unstable’ an online exhibition of new drawings by Josep Barnadas.

 

Josep Barnadas (Barcelona, 1996) merges drawing, sculpture, performance and theatre in his creative process. Understanding the blank page as an empty stage, he creates scenes of romance, confusion, silence and, sometimes, betrayal. His drawings approach narrative from a tragicomical point of view, exploring the visual language of the Theater of the Absurd.

In this new serie ‘Crowded Mutability in the Unstable’, Barnadas proposes images of desire and queer potentiality, creating characters that, even eternally frozen, seem to always be moving towards an infinite future, that remains undiscovered. His scenes are drawn from the imaginaries of the choreographies of Pina Bausch and Dimitris Papaiannou, Dante’s Divine Comedy and Beckett’s Happy Days among others, exploring identity, desire and belonging as transformations in constant movement. We access a latent universe of potentiality, navigating dreams of collectivity, remembering passed worlds and reimagining future to come.

Josep Barnadas graduated in Drawing in 2018 at Camberwell College of Arts, UAL (London).

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Josep Barnadas
Procesión I (2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

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Josep Barnadas
Procesión II (2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

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Josep Barnadas
Double-Headed
 (2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

 

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Josep Barnadas
Two Trees (2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

 

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Josep Barnadas
Toros
(2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

 

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Josep Barnadas
Prince of the Lillies II (
2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

Unavailable

 

 

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Josep Barnadas
Small Heart (
2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

 

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Josep Barnadas
Jacinto (
2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

Unavailable

 

 

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Josep Barnadas
Arpías
(2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

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Josep Barnadas
Ants
 (2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

 

 

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Josep Barnadas
The Happy Days
, 2020
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

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Josep Barnadas
Jardín (
2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

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Josep Barnadas
Hook (2020)
ink on paper
21 x 29.7 cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

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Josep Barnadas
Hades and Persefone
(2020)
Ink on paper
21×29.7cm
8.27 x 11.69 in
Unique and signed

 

Unavailable

 

 

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Josep Barnadas
Claudio
(2020)
Ink on paper
21×29.7cm
8.27 x 11.69 in
Unique and signed

 

Unavailable

 

 

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Josep Barnadas
The Happy Days II (2020)
Ink on paper
21×29.7cm
8.27 x 11.69 in
Unique and signed

 

£180

 

£200 framed

 

 

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Crowded Mutability in the Unstable
por Josep Barnadas
Exposición online

There is a void inside me that I need to fill up by talking, but what I say is always off the mark. Off the mark. Either I am a mirror or a hole. I don’t want to be a reflection of others. A hole is empty but it is real. (Hurriedly, nervously opens eyes) What? (turns only head to left) Has anyone arrived? Anyone there? (Anxious) A visit? (Closes eyes) Hush! Let’s not get nervous. Nobody is here. A voice of something already heard, of something already learned is always repeated when I open my mouth to speak. Indistinct and hazy dark place. Indoor or outdoor space. Words are truly of others, but let’s talk as if we were buried under damp earth. It could be a desert, an olive grove, or the plaza of an empty city in northern Spain. The stage slopes downward. Unless we want the horse to wakes us up, the far is much higher than the near. The ground looks like a hard shoulder, and I have trust in its consistency, but it is eating me. (Pause) Can you hear that buzzing sound? I can tell you cruelly have exit attempts of transformation. You can’t guess how much I want to throw myself into the sea now that I feel the water getting closer and closer. Look at my feet, you will see yourself reflected. I am truly becoming a specter. Total-image, which is to say, death in person1. Here is Sadak climbing from a stone to the leading mountain where the waters are. Not even today. I can’t transcribe it. What? Nothing. (Pause) Do you think this is normal for someone like me? Upside down olive branches are suspended at the top giving the feeling of falling or floating. The flies have stopped buzzing. I might be asleep. Everything deep is absurd. A dim light frames the action. The depths of yesterday sound today like a deception, and we must feel ashamed. It seems nighttime and is cold but it doesn’t feel like December. Words are confusing because they lack of precision and accuracy. Now is Spring. So yesterday…what was it, if not Spring? Something I learned, I can’t remember now. Time passes in a strange way. It’s like I can stretch it out, stir it up, and do whatever I want with it. If I think that everything happens quickly, I truly believe it. But quickly…as for what? At the same speed, of course. Trying to correctly define something must be paralyzing. If words feed the transformations of ideas, they must foster doubt. Synonyms are enemies of the speaker and they make us stutter. (Pause) Has anyone arrived? (Turns his head to the right) Is anyone there? No visits? I want something more. Distractions and made-up words encourage the disuse of a language. People haven’t stopped talking to each other. (Manages to stand up. Annotation of movement, paired silence. Change of light to a lighter one) (Voice of a radio announcer) A magnificent sun is shining in this country. Dawn marvelously, letting go absurd winters. No man’s land, were you born somewhere? If you are children of the Earth, defend the Sun that still shines because there isn’t a body which doesn’t shine in the light. At your side, you will tell him. (Pause) We already know that we do not all share the same opinions. It is purely a geographical problem. You are there and I am here. No, no, no…it can’t be…what can’t be? The more you fight, the more is going to pull you in.  Please help, I am drowning. (Noise of water entering the character’s mouth) Help? I don’t want to have sex with strangers. The Dead! (opening their eyes a lot). The dead, and every day feels like an open (wide eyes open) and close (closes eyes) of eyes. Another day that, suddenly, without realizing, a heart beats differently. The day dawns, and although this noise gets magnified, it helps me speak. Speaking four different languages involves the speaker to stop speaking their mother tongue well. This should be the difference between different and distinct. Exactly. Don’t you think everyone feels the same? Consciousness, conscience, conscience, conscience…While still losing their ideas of metamorphosis. Have you found a movement? Changing, variant and mutable bodies to be truthful to all that change. Accept to stop thinking what has been thought a while ago. Be a faithful unattached host. But for that we should have a sense of control.

 
Josep Barnadas
Time Keepers
Johanna Odersky
5 Septiembre – 17 Octubre

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

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