maquisprojects

[maquisprojects]

DOGMA DOGMA ​ Andres Montes   ​27.05.2016 – 28.06.2016

[maquisprojects]

SUGER CUBE ​ Ayca Telgeren ​06.05.2016  -  25.05.2016

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ART PRINTS IZMIR Group Show                                             ​15.04.2016 – 22.04.2016

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INITIATION DIONYSOS ​ Carmen Bouyer   ​05.03.2016 – 29.03.2016

[maquisprojects]

ARS MEMORIAE Ivan Lounguine, Nina Kerzelli ​26.12.2015 – 20.01.2016

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CENTURIES ​ Sameer Farooq ​16.12.2015 – 24.12.2015

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YOU ARE UNIQUE, YOU DO NOT EXIST! ​Dragan STOJCEVSKI ​12.11.2015  - 05.12.2015

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VOLATILE STRUCTURES Tom Dale   ​03.10.2015 – 10.10.2015

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ROCK …. PAPER ​ Ivan Lounguine ​29.05.2016  -  30.06.2015

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THE PARTS OF THINGS ​ Jonathan Bouknight   ​28.04.2015  - 26.05.2015

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REMOTE CONTROL - CONSERVATIVE ILLUMINATION Cansu ÇAKAR ​10.04.2015  -  27.04.2016

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WE ARE TWO ABYSSES – A WELL STARING AT THE SKY ​ Roberto Cavalli, Carla Esperanza Tommasini, Elisa D’Ippolito         ​03.04.2015

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OUR AGE OLD REPROCITY   Carmen Bouyer     ​vimeo.com/120397072                         ​28.01.2015  -  29.02.2015

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ABSENT REFERENT ​ Metehan ÖZCAN ​12.12.2014  

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OF QUIET BIRDS ​ Nina Kerzelli   ​07.11.2014 - 29.11.2014

[maquisprojects]

STYLITE Maxon Higbee 27.09.2014 - 29.10.2014​ ‘Time is nature’s way of keeping everything from happening at once, and space is what prevents everything happening to me’. John Archibald Wheeler’s quote playfully extends his notion that we live in an observer’s universe – the ‘bit’ created from the ‘it’. An observing No answering a defined Yes. This posits the idea of a being sensing itself and its loneliness, and through a process of desire and fear initiating a program of splits ultimately creating a vast unknowable universe. Knowing is an important issue here as Maxon Higbee’s work deals with the attempt to experience or see outside and beyond an existential horizon, and to rediscover the unknowable that has separated us from ourselves. There is a scope of particular knowledge presented in Maxon’s work. He takes the history of the ‘pillar saints’ as a literal stepping off point to ruminate on the conjunction of subjectivity, esoterica, time and space. In this exhibition the culturally liminal moment of late antiquity forms a backdrop for this process. Maxon is definitely a ruminator - perhaps a truffle hog using his finely tuned senses to plough up probable and improbable truths. The work at Maquis Projects may seem to necessitate a gnostic perspective for the viewer also, but I don’t believe this to be the case. As with GK Chesterton’s Father Brown reason, faith and intuition are all we should need to become embedded observers. Maxon asks us to complete an action representing the moment where a split occurs between ourselves and the other, and to acknowledge our own fear and desire at that moment. However, as the universe and our knowledge expand, does our fear deepen and can we be overwhelmed by time and space - itself the sine non qua of our subjectivity. And can our desire be confounded? ‘But how did we do this? How could we drink up the sea? Who gave us the sponge to wipe away the entire horizon? What were we doing when we unchained this earth from its sun? Whither is it moving now? Whither are we moving? Away from all suns? Are we not plunging continually? Backward, sideward, forward, in all directions? Is there still any up or down? Are we not straying, as through an infinite nothing? Do we not feel the breath of empty space? Has it not become colder? Is not night continually closing in on us? Do we not need to light lanterns in the morning?’ Friedrich Nietzsche, The Gay Science (1882, 1887) para. 125 Tom Keogh

[maquisprojects]

ORANGE BEATS BLUE, BLUE BEATS YELLOW, YELLOW BEATS ORANGE.   Marisol Malatesta​ 27.06.2014 -  21.07.2014 In the last month Marisol Malatesta has produced a new group of works for the exhibition ��Orange beats Blue, Blue beats Yellow, Yellow beats Orange’, opening today in Maquis Projects. Malatesta has been consistently interested in the secondary ritualistic activities of life that form the basis of the political and cultural storytelling defining various hierarchical formations. In past exhibitions the 3 activities of meetings, processions and excavations have figured prominently in her work.   She continues this interest with the exhibition here, and carries it somewhat further related to the space and materials of the building itself and its inhabitants. Bricks discovered in the garden and probably coming from a previously demolished section of the house were carefully selected in relation to makers markings indented into them. These now cryptic territorial statements of ownership and provenance were sanded down by Malatesta to sharpen the outlines, and these ‘signs’ were then taken as a starting point for the formation of new artworks in various other media ranging from painting to performance.  The four original bricks become the founding fathers of a new cultural micro landscape.   The acknowledgement that much of cultural and political formation - necessarily but darkly – demands rituals that, while creating connections, also create breaks in pre-existing narratives, and the rejection of other peoples or individuals deemed inappropriate to the new stories, is something that lies at the heart of Malatesta’s work. She explores the dynamics of grouping strategies. Many of the figures in her drawings or performances are literally blinded by a structure but continue to act as if they are unaware of the pyramidal cones placed over their heads. Their blindness has not rendered them ineffectual as immediate social subjects. But we do have to ask how this disability removes them from proper accountability in relation to their actions. The use of almost random symbols taken from building rubble to create new cultural scenarios and languages offers a bleak parable of how random the excluding ideas of a civilization’s, a people’s or indeed any grouping’s origin myths can be.