image: Exhibition documentation for “Mother Machine”, Mit Borras, Exgirlfriend Gallery. c/o Exgirlfriend Gallery. Image by Gabrielle Fougerousse.
We warmly invite you to Exgirlfriend's last exhibition of 2019 and the opening reception for
Ewa Doroszenko Jacek Doroszenko
November 17th - December 7th, 2018
To help the memory, we usually focus on the things that make sound – a guitar, a telephone, a motor vehicle, whatever – rather than sounds themselves. And the things that make sound usually give sounds their name. In the West we generally have no words that name sounds specifically. There is no word for the sound made by a guitar or a telephone or a motor vehicle, so we have to refer to the object that produced the sound to give the sound a name. And, because of this, people do not talk about sounds, they talk about objects that make sounds; they talk about ‘things’ and, consequently, sounds cease to be sounds and they become things.
-Robert Worby / composer & sound artist / BBC
For their first show in Berlin, Ewa Doroszenko and Jacek Doroszenko present “Double Speaker” - an exhibition manifesting as a common ground between the artists and as a physical and extra-sensory constellation. Inspired by soundscapes from different places in Europe, the exhibition invites us to explore and celebrate audio-visual experiences that are both very intimate and expansive. Exgirlfriend Gallery is transformed into the place where art directly catalyses the transition from synthetic images and digital sounds to painting or graphical music notations.
Both Ewa and Jacek are deeply involved in the revelation of a new aesthetic code, which is still in the process of being defined, according to the many possibilities arising from their multidimensional and complex practices. The exhibition reveals the artists' discussion on real existing landscapes, virtual environment, and soundscapes.
Ewa Doroszenko (b. 1983) is a Warsaw-based artist which creative practice employs a mixture of painting, photography and digital media. She earned a Doctor of Fine Arts degree (Painting Specialization) from the Nicolaus Copernicus University in Torun, Poland. Ewa Doroszenko is a winner of the Competition for the Fait Gallery Preview 2016, Young Lynxes Competition 2018 - Contemporary Lynx, DEBUTS 2018 - doc! photo magazine, Debut 2018 - Lithuanian Photographers Association. She is a beneficiary of many residency programs, including: Petrohradska Kolektiv in Prague (Czech Republic 2018), Klaipeda Culture Communication Center (Lithuania 2017), Atelierhaus Salzamt in Linz (Austria 2016), The Island-resignified in Lefkada (Greece 2015), Kunstnarhuset Messen in Ålvik (Norway 2015), AAVC Hangar in Barcelona (Spain 2014), Fondazione Del Bianco in Florence (Italy 2006).
Ewa Doroszenko is a participant of many group exhibitions and festivals, such as Riga Photomonth, Transmission Arts Festival Athens, FILE Electronic Language International Festival in Sao Paulo, Interference Festival in Gdansk, ISEA International Symposium on Electronic Art in Vancouver, IN OUT Festival in Gdansk, GENERATE! Festival for Electronic Arts in Tübingen, The Wrong New Digital Art Biennale in Rio de Janeiro, among others. Her photographs have been featured in publications and blogs such as Der Greif, Vice, NEO2, The Forumist, YET magazine, The Calvert Journal, Daily Serving, Metal, Flat Magazine, Detroit Center for Contemporary Photography.
Jacek Doroszenko (b. 1979) is a Warsaw-based artist active in the area of visual arts, working with sound and video. Graduated from the Cracow Academy of Fine Arts, Poland. He is a beneficiary of many residency programs, including: Petrohradska Kolektiv in Prague (Czech Republic 2018), Klaipeda Culture Communication Center (Lithuania 2017), Atelierhaus Salzamt in Linz (Austria 2016),
The Island-resignified in Lefkada (Greece 2015), Kunstnarhuset Messen in Ålvik (Norway 2015), AAVC Hangar in Barcelona (Spain 2014), Fondazione Del Bianco in Florence (Italy 2006).
Jacek Doroszenko presented his works, projects and performed in numerous venues, among others: Matadero Contemporary Art Center in Madrid, Casoria Contemporary Art Museum in Napoli, Centre of Contemporary Art in Torun, Pauza Gallery in Cracow, Historic Centre of Athens, Goldcorp Centre for the Arts in Vancouver, Łaźnia Centre for Contemporary Art in Gdansk, The Starak Family Foundation in Warsaw, Kasia Michalski Gallery in Warsaw, Institut für Alles Mögliche in Berlin, Fait Gallery in Brno, The Herbert Art Gallery & Museum in Coventry, Palace of Culture and Science in Warsaw, Krakauer Haus in Nürnberg, Propaganda Gallery in Warsaw, Oskar Schindler’s Factory in Cracow, FIESP Cultural Center – Ruth Cardoso in Sao Paulo. The artist performs solo music shows and plays in the Mammoth Ulthana duo.
Come join us during Berlin Art Week in our booth at Positions Art Fair 2018
Exgirlfriend will be showing works by Vera Kox(b. 1984, Frankfurt/Main), Omsk Social Club(b.x, 19xx), and Mit Borrás(b.1982, Madrid) as well as smaller works by various Exgirlfriend artists.
Exgirlfriend will also be participating in Positions Open Gallery night event showcasing our solo exhibition by Exgirlfriend artist Mit Borrás: more information coming soon
Berlin Art Week events, dates, and times found here
Positions Art Fair schedules and times found here
September 22nd - October 13th
Opening Reception September 22nd @7pm
I share a locker room with six other pregnant women, each of us, in silence. We lubricate the skin of our bellies, tits and thighs with our hands or the massager balls. I look at the color of my nipples and compare them with those of my companions, they are all violet and we comment on it. The blue LED light of the locker room makes us look like inhabitants of Pandora;moon from the planet Polyphemus populated by humanoid creatures named Na'vi. We are waiting for Jake to come fuck away the afternoon. Jake does not arrive, so we keep putting cream on our coccyxes. We are dressed as goddesses of reproduction with metallic bodies, sidereal prints with galaxies, explosions of supernovas. We repeat the ritual every day at 8:00 pm, killing ourselves performing prenatal yoga exercises in the meditation room.
You can not put a limit on anything. “The more you dream, the further you get” is the slogan of this wellness center. The yoga group talks a lot about mind control, and there are magazines circulating about the importance of observing nature. We talk a long time about a text that deals with the life of mushrooms before Lilith, the monitor, begins the session with an invitation to breathe deep.
Just from hearing Lilith's voice, I enter a peaceful state. I can feel the fetus intensely, the head pressing my bladder and the feet close to my lungs; I perceive the birth canal as a polished lime-green cavern. The walls of the room twist and fade. The long legs of my yoga partner look like spider legs when she flexes her knees and touches the floor with her ass. There is an ultrasonic humidifier in a corner, they always fill it with essence of cinnamon and mint: this gives you the vibration of a spa that invites one to levitate. I fly over mountains of purple velvet and I fall into a transparent vessel full of mist and I vape it all. What an immense pleasure to fill my lungs and leave behind an innocuous white cloud. I have a hard belly all the time. We are done.
I always carry white tea and tangerines in my sports bag for after these sessions; that taste of health that I like so much and that I know will not come back. I walk with my knees loose to the exit, I chew strawberry gum like I'm drunk, I talk to the receptionist for a while and she reminds me that they have special courses to recover the figure after giving birth. I pay the 80 euros of the monthly payment and I put the receipt on my neckline, my tattooed neckline with the phrase Throw down your umbilical noose so I can climb right back, from Nirvana.
The work of Mit Borrás is essentially installation;objects organized in the space which keep a surgical precision. The artist deals with issues related to the idea of progress and the aesthetic place occupied by technological devices. He works with plastics, silicones and various synthetic materials that offer a certain contemplative pleasure due to their soft ergonomic curves and the attractive adaptations of form. The precise flight pattern and apparent self-government of a drone along with the type of rotators and microprocessors of a medical prosthesis, play a decisive role for the artist when it comes to understanding his own work in motion.
The conception of nature in the work of Mit Borrás makes indivisible the natural and the artificial, implying that the fruits of science are as virtuous as the fruits of nature. From an anthropological point of view, the changes suffered by organisms to adapt to the environment are comparable to the efforts of science to provide us with a longer and more pleasant life. Underlying the artist’s work is the idea of eing immortal–not in terms of existing indefinitely but rather by living in harmony with the environment, achieving transcendence by accepting the acts of women and men as part of a search for stability and peace. The artist asks us as viewers to see ourselves as explorers of the state of minimum energy and maximum stability by using techniques such as chromotherapy and aromatherapy.
From the conviction that the animal kingdom adapts to nature just as humans adapt nature to their own needs, along with the consequences that implies, the artist works with objects of mass production designed for balance and anatomical accommodation. Borrás talks about humans as beings who modify, design, and “ergonomize” their bodies and environments, resulting in works that allude to reproductivity and sexuality from the most industrial and inorganic point of view.
Exgirlfriend Gallery (Berlin) presents the exhibition “Mother Machine” from September 22 to October 13. Using installations and videos, “Mother Machine” addresses topics related to technology and the idea of rogress, alluding to the processes of ergonomic transformation by which humans attempt to imitate the acts of adaptation that nature itself performs. Self-improvement robots as absent protagonists, the technological singularity serves as the engine of a work that constantly questions the division between what is biological and what is artificial.
Text by Rachel Lamot
+49 151 63214644
Traversing the Threshold
July 14th–August 4th 2018
Opening Reception July 14th @7pm
Room Installation of Robotics-Assisted Calligraphic Works and Videos in Collaboration with the e-David Project (University of Konstanz) and Video Artist Marcus Nebe
Traversing the Threshold presents robotic paintings by the artist Liat Grayver and video works made by and in collaboration with the media artist Marcus Nebe, who has been following Grayver’s collaboration with the e-David painting robot over the last two years. The works presented here stretch into and expose the temporal and physical space of the artist’s creative process through the mediums of painting and video.
What could have been executed as one painting constructed of thousands of brushstrokes has instead been decomposed and distributed over numerous sheets of rice paper. Grayver cropped different sections of the master particle generator image and translated the individual particles into single brushstrokes (assigning parameters such as, for example, the size, length, pressure and speed variation of the strokes), before sending it to the robot for the final execution.
The individual paper works are extracted from a complex of computer-generated particles (Simulation of a World Overview) according to Newton’s Law of Universal Gravitation. Scaled to different sizes, each can be viewed not only as an individual work but also as part of the modular wall installation. Nebe’s video compositions utilize close-up footage he made of the ink and paper interacting as Grayver created the works, offering intriguing temporal perspectives on the material’s response and impact on the act of painting.
The fragility of the ink-infused rice paper work in particular stands in sharp contrast to the industrial robot used to create them. As with Japanese calligraphy (the reference is obvious and undeniable), the brush trajectories and the ink’s behaviour as it penetrates the surface are here of several magnitudes more importance than the perception of the object itself.
Liat Grayver (Israel, 1986) graduated from the Art Academy of Leipzig (Diplom-MFA) in the class of Heribert C. Ottersbach (painting). Currently she is a Meisterschülerin (post-graduate) in the class of Joachim Blank (media art). Since February 2016, Grayver has been collaborating with the University of Konstanz on the e-David Project exploring various approaches to integrating robotic and computer languages in the processes of painting and creative image-making. http://www.liatgrayver.com
Marcus Nebe (1985) received his diploma of fine arts in 2015 at the Art Academy of Leipzig in the class of Helmut Mark (media art). His works can be found in public and private collections. In the last decade, he has shown his works throughout Germany and in international exhibitions. He lives and works in Leipzig and Berlin. http://www.marcusnebe.com
The e-David painting robot, developed at the University of Konstanz by Oliver Deussen, is a pioneer project in this field and was one of the first to use a visual feedback system. The possibility of visual feedback brings up many questions within the contemporary discourse on deep learning, artificial intelligence and robotic creativity. http://graphics.uni-konstanz.de/eDavid
No Apologies – EXG summer party + T Shirt release + RAICES fundraiser
SO sorry to bother you, but if you could please take the time to come to this event it would really mean a lot to us. Of course we wouldn’t expect you to. We're not trying to make excuses or anything, but, well, it's summer, and, um...
No Apologies: EXG Summer Party
July 7th 2pm-8pm
Join Exgirlfriend in celebrating the release of our official t-shirt design for 2018 with unlimited beer and music sets from DJ friends of the gallery. Entry is 5 euros, and drinks will be free until the keg is tapped. We will be celebrating inside the main gallery, as well as in our outdoor area, weather-permitting. Exgirlfriend would like to thank you for your continuous support, and we hope you will come share a drink with our team at No Apologies: EXG Summer Party!
Update: party is still on! But in light of recent political events, we felt we had to make a slight shift.
Recently, the First Lady of the US wore a jacket with the text “I really don’t care, do u?” while visiting a detention center for children trying to immigrate to the US. We feel appalled, and considering this party is a release for a T-shirt which also has a political message, we decided on this: all (100%) of the profit from this event will go directly to RAICEShttps://www.raicestexas.org
To help provide legal aid to those trying to cross into the US and reunite separated families. That’s all.
Thanks to our models and photographers who contributed to the promotional images for this event.
Nele Stroebel & Christina Paetsch
June 9th 2018 - June 30th 2018
Opening Reception: June 9th @7pm
Finissage: June 29th, @7pm
"Botanics" is informed by the three dimensional order systems found in natural and bionic structures.
Independently exploring artificial -and the intersection with natural- frameworks, this will be the first exhibition of both Christina Paetsch and Nele Ströbel's work together in a spacial conversation. Both artists have been living and working in Berlin for over two decades.
The exhibition's installation echoes the concept of a three dimensional chamber, a spacial conversation between photo works, terracotta sculptures, bricolage, and drawings.
Nele Ströbel received her MA in Sculpture at the College of Applied Arts in Vienna, Austria in 1984 and completed her Meisterjahr in 1985. She received the Karl Buchrucker Prize for Fine Arts in 2002 and her work can be found in several public and private collections, as well as receiving the 2016 First prize for sculpture in Treptower Park, Berlin for a public installation.
Christina Paetsch(1963) was born and raised in the Neukölln district of Berlin not far from her current atelier on Fuldastrasse. Paetsch obtained her Masters in Fine Arts from the Berlin University of the Arts in 1992 and has shown her works throughout Germany and abroad.
Amir Chasson, Issachar, 2018, wood, 56x42x38 cm approx.
Erin Mitchell & Olivia Lennon
March 31st - April 21st
March 31st, 7-10 pm
image credit: Kevin Weil
"Traction Flesh Hold"
Saturday, 14th October, 2017
19:00 - 22:00
14.10.2017 - 04,11.2017
Tuesday - Saturday
15:00 - 19:00
exgirlfriendberlin, exgirlfriend, berlin, art gallery, contemporary art, gallery, berlin, art berlin, artist berlin, berlin arts, berlin artists, Omsk Social Club,
Opening Reception: 8 September 2017 @ 19.00
Running from 9/9/17-29/9/17
Holsteinische Str. 18, 12161 Berlin
For his first solo show in Berlin, Christopher Meerdo explores various modes of subjugation and subversion relative to our asymmetrical relationship with networked technologies.
This new body of work is derived from circumventions of restricted and administrative areas accessed through the dark web. More specifically, the recent projects 'White Hot' and 'Blaze/Chill' are augmentations of files derived from hidden systems designed to collect and control bodies as subjects for metadata analysis.
For White Hot, photogrammetry modeled sculptures sit atop their corresponding United States Air Force drone videos. The videos, accessed through TOR channels, reveal testing and training procedures being implemented on US citizens. This includes the practice targeting of individuals outside a medical care center and on a long combination vehicle (LCV) semi truck. The term “white hot” is commonly used by Remotely Operated Aircraft Sensor Operators; the etymology stemming from the bright white representation of body heat when viewed with interfered targeting scopes mounted to drones as part of Multi-Spectral Targeting Systems.
The resulting sculptures, originating from the video frames, are deconstructed using a slicing technique and reconstructed by hand. Each sculpture is hydroprinted with collages derived from images collected during the researching of the project.
Using similar methods of retrieval, the series Blaze/Chill is an excerpt from a collection of roughly 5400 infrared photographs produced by embedded facial recognition (EFR) security cameras. International in scope, the resulting photographs from this specific camera system uses a database of stored facial profiles to create unique identifiers for workers to gain building access or to log in and out of work each day. Similar to Workers leaving the Lumière Factory, here the camera has shifted from a casual observer, to being instrumentalized as a method of control and subjugation through highly precise individualized administration.
Christopher Meerdo (b.1981) is a Chicago based artist who grew up in the Upper Peninsula of Michigan and Lithuania. Meerdo’s work was recently featured in a year-long solo exhibition at the Mattress Factory Museum of Contemporary Art. He is the Fellowship 15 International Award winner for his projects Iceland and Cataphote, was an artist in residence at the SIM Program in Reykjavik, Iceland and attended the Skowhegan School of Painting and Sculpture in 2013. Meerdo received his MFA in Photography from the University of Illinois at Chicago and currently teaches at the School of the Art Institute of Chicago. Recent and forthcoming exhibitions include The National Gallery of Kosovo, The Museum of Contemporary Photography (Chicago, IL); CocoHunday (Tampa, FL); Floating Museum (Chicago, IL), Cabinet Magazine (Brooklyn, NY); LVL3 Gallery (Chicago, IL), Second Street Gallery (Charlottesville, VA); SIM Gallery (Reykjavik, Iceland) and a traveling exhibition in Birmingham and Leicester, UK. Meerdo is represented by DOCUMENT Gallery in Chicago.
More information can be found at http://0-0.ooo/
Opening Reception: 16 June 2017 19.00
Running from 16 June- 7 July 2017
Holsteinische Str. 18, 12161 Berlin
May 12th - June 2nd 2017 Gallery Hours: Tuesday - Saturday 10-3
Opening reception: May 12th 7pm-11pm
It Happened Here takes the fears and anxieties of a troubled world and localizes them at specific spots in the gallery. Aleks Slota embodies the contemporary existential dread and manifests it through solo performances done only for the space in which they happen.
The specific time of the action is gone, but the place remains. The ghost of the performance is only imagined through the written description. Through the disappearance the act becomes itself. I was here. I did it. It’s over. And yet, the document lives on into the future, and the performance lives through it.
April 7th-28th 2017
Gallery Hours: Mon & Thurs 12-3 and by appointment
Opening reception: April 7th 7pm-11pm
In her solo show *TRACKER, Fiona Valentine Thomann evokes ideas of how communal and private spaces are occupied or inhabited by entities that are not easily perceivable but that nonetheless claim an existence; for example the data ghost.
Influenced by the Internet of Things and Object Oriented Ontology, she plays with various dimensions of sound and visuals in her art.
Her show TRACKER allows for such different dimensions to be experienced through the usage of Augmented Reality 3D models. The shapes of these models are freely drawn in digital space; they are shaped like an idea, a gesture, a choreography.
By placing the body inside of the screen she examines different relations of art to space and time, allowing for her work to be mobile and transportable, always with you in your pocket.
This makes the public a central component in her work, they can surf inside her 3D models and make their own trajectory through the 3D Model much like video games that are navigated by the gamer. The variety of details that are thereby revealed make the experience of the 3D model different for everyone. She enables the audience to explore different angles and discover different links in the work through a plethora of sound and text that shape these digital environments.
Her work allows you to experience both mentally and physically the 3D models that are made accessible via trackers. The trackers she uses are created through a photographic interplay of screen-captures that serve as textures inside her 3D model. Such a cinematographic approach highlights the different details and the textures she uses which function as thought references in her process. They are a patchwork of different challenges human kind faces in the world today. In her models you can find anything from the wheel of human skin color made by Neil Arbisson, the first cyborg that only sees black and white and listen to color, to the Canadian company Vitalic’s pure oxygen bottles ready to be send from China for 20 dollars the bottle.
Her work essentially questions what is visible and the invisible to us, it underlines the simultaneous accessibility and the inaccessibility of an artwork.
*(TRACKER is inspired by her first lucid Dream.)
Text by Fiona Valentine Thomann and Milos Trakilovic.
Partnered with Augment App
Join us for Desperate Girl Karaoke, a zine launch and night of performances celebrating the closing of “You Look Like an Advert for Yourself”, an exhibition of new works by Vanessa Gravenor and Indrani Ashe. Indrani will read Fifty Dates of Grey, a Manifesto from the new Fifty Dates of Grey zine. Vanessa will give an artist talk, “In the female revolution, the woman will not be resurrected”. Indrani and Vanessa will perform Desperate Girl Karaoke in celebration of the angry and melancholic songstresses who make new worlds of solidarity possible by expressing their dissatisfaction with the current reality. Audience participation is encouraged. Please add your playlist suggestion in the event page.
“Fear, anxiety, and nostalgia are clear examples of the negative emotions involved in the project of detaching ourselves from familiar and cherished forms of identity.” - Rosi Braidotti “Affirmation vs. Vulnerability”
Vanessa Gravenor - Indrani Ashe
OPENING RECEPTION: February 24th 2017 7PM
We sell our bodies via self-branding on Tinder, Facebook, Instagram, and blogs: our identities are porous and morph to fit the given situation. Society tells us we should exploit these gender categories as the major business corporation of US-R-US, joining the ranks of the dispossessed Tinder -bots. We have the sense that we need to counter this army like dogma, although it permeates everything we know of, making it hard to think of an alternative. Our sentimentality contributes to a growing risk of entrapment in a world of creative precarity, losing the possibility of progress in the fight for recognition.
You look Like an Advert for Yourself, a satirical and yet sentimental take upon economies of emotional relation, is an exhibition of works by Indrani Ashe and Vanessa Gravenor that takes its name from a chapter of Nina Power’s book The One Dimensional Woman. Like its signifier, it is a feminist critique on the emotional labors and gender relations of our time by using post-internet and post-consumerist aesthetics, meme images, and vapid characteristics, to comment on how these very aesthetics are new essentializing forces. Working across photography, video, text, and performance, both artists envision their works as heuristic takes on feminism.
FiftyDatesofGrey.com follows Indrani on fifty Tinder dates in London and Berlin, correlating romantic tribulation with economic and geographic precarity. It uses the form of the confessional to detail traumatic experiences of the industrialization of love and emotion, which the artist herself encountered on her quest to infiltrate circles of social privilege and create new possibilities for human connection. Vanessa Gravenor’s series Odalisque Beauty Ass on Young-Girl/Sick-Woman theory follows a similar approach but through a different aesthetic means. Through writing and medium format photography, Gravenor attempts to reprocess images such as the Odalisque or Charcot’s hysteric in order to co-opt these forms and reach a type of jouissance. The artist has asked her friends to re-enact different poses, yet change and bastardize them. A text on the work situated the series in media theory accompanies the series.
Join us from 7 until 11pm for a drink, art by Christophe Mauberqué andBrandon Oxendine, a first listen to new upcoming releases (Albrecht La'brooy - Emissary EP (Night Tide 003) + So Underground It Hurts EP (ensemble005) and more.
Night Tide (AU) is a cross continental label founded by Eluize that stands for beauty in electronic music and international collaboration between sonic and visual artists.
On the 9th Night Tide will be presenting their latest release, the "Emissary" EP that was created by Melbourne based, Analogue Attic Recordingsfounders Albrecht La'Brooy. The release began with a concept from the artists, who asked for field recordings taken by Eluize from around Berlin. Sounds from the local sonic landscape made their way across the Atlantic to arrive in Albrecht La’brooy’s studio, where they were used as inspiration for the three subtle and deep outings on this record. The photography in the artwork for the release comes from friend of the label Christophe Mauberqué Photography, who will be showing some of his other works on the night. You can listen to the guys gentle view of house in their "music to...drive through the otways to" mix for I-D here:
ensemble (BE) is a label run by Belgian DJs Kong & Gratts, which so far has showcased a broad range of sounds from allies such as Xosar, San Soda, Belgian cult jazz band Aksak Maboul and Raw Sketches. The imprint first started as a club night to celebrate togetherness and timeless house sounds.
The forthcoming "So Underground It Hurts EP" features an ensemble of befriended producers. The release will be out this April.
Event photo by: Christophe Mauberqué
Flyer design by: Brandon Oxendine
OPENING RECEPTION: OCT 28TH 7PM
Today I decided on the green tracksuit. I’ll run 20 minutes in the gym to workout my glutes, I want them to feel really hard, completely tight. I have worked hard so that my biceps reflect my acquisitive lifestyle. I admit that I feel a certain anxiety to see my pearly cheekbones reflected with the light of my Ipad, my Iphone and all my fucking mobile devices. I fasten the velcro on my trainers and start out on the journey to the space between sublime and beyond sublime. Behind the automatic sliding glass doors, palm trees are waiting for me, along with the air conditioning and green neons, green like my tracksuit. A sexy Japanese woman verifies my membership card for the Tropic-gym. The space has been perfumed with mint in order to cover the smell of our collective sweat.
Exgirlfriend presents its first exhibition, Completely Familiar Entirely Artificial with artist Mit Borrás. Mit Borrás makes protagonists of the different elements our current society uses to transmit ideas of well-being, hygiene, modernity, personal satisfaction and health. The dangerous closeness between the concepts of a) progress and b) technology have surrounded us with devices. We have adopted curious sports routines. Current communication routes have destroyed our more intimate forms of reference, giving way to a universal comparison model, one in which we are all susceptible of being rated and categorized. An obsession with synthetic fabrics, fluorescent colors and protein powder has generated groups of elastic devotees who acquire superpowers when an energy drink rubs their lips. It might seem that the man of the XXI century can cross the cosmos Jumping with his Nike Airs but he inevitably bites the dust.
Text by Rachel Lamot