Caught in the Act is a group show investigating relations and frictions between corporeality and spatiality through works located between the kinetic and the static. Based on a dialectical approach to the disciplines of sculpture and performance, this exhibition explores the liveliness of objects and the plasticity of gestures.
From dancing bodies to a halt and objects shifted from one place to another – Caught in the Act attempts to take a position from within utilitarian, abstract, symbolic and political moves that manifest into a physical structure and simultaneously emanate from physical space into movement. Gestures of stopping, copying, revolving, interrupting, repeating, accelerating and decelerating are acted out, and subsequently caught in and exposed within the exhibition space.
List of participating artists:
Murat Adash, Naama Arad, Erika Ceruzzi, Zuzanna Czebatul, Tobias Donat, Elif Erkan, Alexis L-Grise, Stephen Kwok, Oren Pinhassi
In a performative act, ELIF ERKAN shatters china plates and, without arranging the shards, pours plaster over them. Once the resulting object has hardened, she sets it upright and carefully leans it against the wall of the exhibition hall. Although made of classical sculptural materials, the works suggest snapshots recording the brief moment of violence.
MURAT ADASH explores relations and frictions between movement and architecture. He intervenes into various spatial systems through choreographic interventions, utilizing both private and public spaces as a resource and choreography as a tool for drawing—drawing over fixed identities in order to unleash potentials of their transformation.
STEPHEN KWOK’s installations, charged with the possibility of action - of spectacular performance - remain static. Live and unrelenting loops transform bodies into objects, performance into sculpture, action into image.
ZUZANNA CZEBATUL explores support structures between the conventions of the gallery space- walls, floors, frames- and between bodies. The body language of the characters in her works explore the possible ways that people can relate to each other- by being together but also being apart, by looking towards each other but also looking outwards at the world.
NAAMA ARAD employs an aesthetic of fragile and poor materials along with the trace and marks of her own hand. The objects are produced in a series of repetitive and obedient actions that relate to traditions of craft. Architecture is thus rematerialized through the performance of low-status labor such as weaving and quilting, stapling and taping.