Das Institut für Alles Mögliche is pleased to present Re:Core, a group exhibition curated by Alt Esc and The NY FemFactory, featuring the works of Nina Cristante, Masami Kubo, Lauren Moffatt, Tracy Dillon Timmins, Britta Thie, and Jessica Yatrofsky.
Re:Core investigates the social, psychological, and somatic infrastructures of the body as it is depicted on the screen, in the media, in our memories, and personal narratives. The artists explore the body’s extension past tangibility, past the idea of something that is internal and external; they question its visibility and existence outside its physical realm, how its projected on a surface, and the omnipresence of a constant audience.
Britta Thie often depicts her own body to examine the meaning of the figurative image in a product-driven society. In her sound installation Sirens she displays fragmented images surrounded by a ghostly murmur of voices, displacing them from their corporeal form and attaching them to a frozen representation. In an ode to Philip K. Dick, Masami Kubo’s VR piece navigates the viewer through an out-of-body experience of a conjured construct. Posing herself as the object storyteller, she draws from personal incidents, politics and pop culture, to build a satirical narrative. Lauren Moffatt’s video The Unbinding presents a world made up of fragments of archived images. Presented in 3-D, the stereoscopic piece reveals a figure whose face, hands, and hair change with each of her movements and who is contained within a constantly reconfiguring loop. Also inspired by Philip K. Dick (the “scramble suit”), time loops, and time machines of 20th century science fiction, this work reflects on the daily activities of appropriation and sampling made possible by digital technologies and networks, and how we are seen externally in lieu of this accessibility and viewership.
In contrast, Nina Cristante’s film Drama looks inwards as she zooms in on the blue glove-clad hands of a surgeon as they explore the inner networks of the body. Paired with the compositions by boli group, the lush imagery of the body’s bloodied contents becomes an ephemeral reminder of the physical groundwork intertwining with the emotional. In her pigment prints and paintings Tracy Dillon Timmins captures a fleeting gesture from re-appropriated imagery, cropped and enhanced, collaged and decontextualized. The ghostly hands and figures float somewhere on the brink of memory and reality. Jessica Yatrofsky rejects the media trends of hyper-sexualizing the female body and confronts the notion of femininity in her photographic series I Heart Girl. Shooting subjects with masculine and feminine features, and who defy the beauty industry standards, Yatrofsky pieces together an honest portrayal of the contemporary cultural landscape.
Stuttgarter Straße 13, Berlin