Yes, connection hurts, S:2f2 (CΥ)

Yes, connection hurts. 


4-10 June 2018

S:2f2 (CY)

Curated by Evagoria Dapola

The exhibition 'Share: IRL' presents the dialectics of the interior and exterior spaces. Our habit of sharing creates protective spaces that can be both real and imaginary. In this light, the frequency we share elements is sometimes approached as a field of intimacy, privacy or privacy or as an outlet for the imagination: it becomes an ephemeral space to hide feelings or to organize thoughts. So is this how it feels to be free?

Structured under the general title 'SHARE IRL' (in real life), pop-up exhibitions act as an alternative space, marrying the intense physical presence and conceptual vigour of a para-institutional exhibition, with the style and content of short-term exhibitions of art using their own time as their main ingredient Presenting 5 pairs of artists and collectives that act as different phases of a larger exhibition, the projects combine visual tensions and politics while echoing close the ideas and feelings as expressed through this everlasting piece of time and space, releasing the exhibition from a permanent infrastructure of a physical space and time through its presentation at sporadic intervals. Thus creating an ephemeral moment in which the remaining elements serve as commemorative, a portrait of synchronicity (contemporaneity), time and memory. The first phase, under the subtitle 'Yes, Connection Hurts', presents Lia Lapithi x Andreas Mallouris on June 4th at S:2F2 exhibition space

A central subject in Lapithi’s work has always been womanhood.This time the research-driven approach introduces a new chapter after the tender reconciliation with femininity and the elements that consist the female identity. The viewer is invited not only to come to a more direct contact with the concepts of the works but also to find themselves at the core of these works, to "navigate" through them, to search in the deciphering of their secrets, to seek out their sign tones and his/her own symbolic and emotional references. The plasticity, density and scuffle of the works, the expressionist deformities, the intensity of the black and the chromatic flashes, the design acuity and the dominant grids of the lines, the strength and roughness of the gestural sculptures, create counterpoints and balances, movements, routes and postures, impart rhythm and dynamism, clarity and vitality.

Andreas Mallouris makes a visual proposition, in which the repetition of gesture and the mathematisation of the creative process becomes a “writing of time” and given the rhythm of the works, they allow the creation of a virtual space for reflection and philosophical contemplation. His work signals sexual fragility and delicacy whilst echoing the gesture of its deposition . The works reflect a particular psyche (soul), an internal way of experiencing reality, give the impression that they emanate directly from the subconscious, reveal and conceal, communicate and interact, are imposed by the monumentality, exude emotion and truth, are opened in multiple readings and approaches, in an area of allegories about identity, life and love, sexuality and violence, adventures and anxieties of existence. At the same time this new body of work continues the artist’s personal research on the relationship of the unit and it’s subdivisions.