Artists: Anne de Vries, Eva Papamargariti, Guan Xiao, Katja Novitskova Lito Kattou, Mimosa Echard, Oliver Laric Pakui Hardware, Paloma Proudfoot, Saelia Aparicio, Timur Si-Qin
Exhibition title: In a world where immortality is the norm, the future is my future
Venue: Galeria Duarte Sequeira, Braga, Portugal
Date: March 2 – May 5, 2019
Photography: all images copyright and courtesy of the artists and Galeria Duarte Sequeira
Galeria Duarte Sequeira is pleased to inaugurate its programme of exhibitions on Saturday, March 16th, 2019 with a group exhibition exploring the constantly-redefined term ‘human‘.
Using the myth of Eos and Tithonus as a starting point, and with a strong focus on humanity’s quest to live -possibly forever-, the exhibition delves into the collaboration between the human and non-human, the boundaries of natural and artificial, organic and synthetic, the real and fictional, and the aesthetic and the practical.
The exhibition encourages to consider the way each body experiences life individually, and collectively contributes to the expansion of the term ‘human’. With a common desire to make sense of the world and its limitations, the artists discuss the evolutionary process and raise questions around technological advances under capitalism, and how these have, in turn, affected humanity’s relationship with time and nature.
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
In a world where immortality is the norm, the future is my future, 2019, exhibition view, Galeria Duarte Sequeira
Anne de Vries, Whole World View (2011), UV print on dibond and 4mm Plexiglass, d 220cm, courtesy of the artist
Eva Papamargariti, But for now all I can promise is that things will become weirder (2018), Single channel video, duration: 12:22, courtesy of the artist
Eva Papamargariti, But for now all I can promise is that things will become weirder (2018), Single channel video, duration: 12:22, courtesy of the artist
Eva Papamargariti, But for now all I can promise is that things will become weirder (2018), Single channel video, duration: 12:22, courtesy of the artist
Eva Papamargariti, But for now all I can promise is that things will become weirder (2018), Single channel video, duration: 12:22, courtesy of the artist
Katja Novitskova, Hydrothermal Potential (Lost City) (2015), Digital print on two layers of aluminum, cutout display, 219 x 50 x 35 cm, courtesy of the artist; Kraupa-Tuskany Zeidler, Berlin
Katja Novitskova, Earth Potential (E. Coli), 2017, digital print on aluminum, cutout display; steel and aluminum armature, approx. 232 x 246 cm, courtesy of the artist; Kraupa-Tuskany Zeidler, Berlin
Katja Novitskova, Approximation (CT scan Nakht-ef-mut, snapshot Serengeti 10.12.2015 15:48:51) (2018), digital print on 2 layers of aluminum, cutout display, 289 x 185 x 45 cm, courtesy of the artist; Kraupa-Tuskany Zeidler, Berlin
Lito Kattou, Skins and Feathers I Vol. 2 (2018), Aluminum, steel, plastic, 144 x 167 x 3cm +50 cm diameter, courtesy of the artist
Lito Kattou, Skins and Feathers IV Vol. 2 (2018), Aluminum, steel, plastic, 164 x 100 x 3cm + 50 cm diameter, courtesy of the artist
Mimosa Echard, A/B (2019), plexiglass, wax, epoxy, pills, 180cmx200cm, courtesy of the artist
Mimosa Echard, A/B (2019), plexiglass, wax, epoxy, pills, 180cmx200cm, courtesy of the artist
Guan Xiao, David (2013), single channel HD video, 3 screens, color, sound (4:43 min), courtesy of the artist; Kraupa-Tuskany Zeidler, Berlin; Antenna Space, Shanghai
Guan Xiao, David (2013), single channel HD video, 3 screens, color, sound (4:43 min), courtesy of the artist; Kraupa-Tuskany Zeidler, Berlin; Antenna Space, Shanghai
Oliver Laric, The hunter and the dog (2018), Polyurethane, pigments, steel stand, 90 x 66 x 6 cm, courtesy of the artist; Tanya Leighton, Berlin
Timur Si-Qin, Campaign for a new protocol, Part III – B (2018), Backlit tension display, aluminium frame, LED light system, 210 x 140 x 5 cm, courtesy of the artist; Societé, Berlin
Timur Si-Qin, A new Protocol VR (2018), VR with Occulus headset and rock, courtesy of the artist; Societé, Berlin
Pakui Hardware, Demand VII (2017), Heat-treated plastic, silicone, soil, UV prints on PVC Pentaprint, film on two metal holders, 190 x 87 x 44 cm, courtesy of the artist; Exile, Vienna
Pakui Hardware, Demand IX (2018), Heat-treated plastic, silicone, soil, UV prints on PVC Pentaprint film on two metal holders, 190 x 87 x 44 cm, courtesy of the artist; Exile, Vienna
Paloma Proudfoot and Saelia Aparicio, Hoodlum, 2018, Ceramic, jasmonite, ceralum, brass powder, 40 x 20 X 23 cm, courtesy of the artists; Belmacz, London
Paloma Proudfoot and Saelia Aparicio, Ruffian, 2018, Ceramic, jasmonite, ceralum, brass powder, 50 x 20 x 23 cm, courtesy of the artists; Belmacz, London
Saelia Aparicio, Always in motion is the future – Yoda, 2019, ink on paper, 70 × 100 cm, courtesy of the artist; Belmacz, London
Saelia Aparicio, Sluggish, 2019, ink on paper, 70 × 100 cm, courtesy of the artists; Belmacz, London
Saelia Aparicio, Rooting for ya, 2019, ink and watercolour on paper, 70 × 100 cm, courtesy of the artists; Belmacz, London
Saelia Aparicio, Peineta, 2019, ink and watercolour on paper, 70 × 100 cm, courtesy of the artists; Belmacz, London
Paloma Proudfoot and Saelia Aparicio, Fourchette, 2016, fabric, resin and metal, courtesy of the artists; Belmacz, London
Saelia Aparicio, Bionic Super Abuela, 2019, Epoxy resin, mouth blown glass, epoxi Putty, prosthetics, polypropylene, grandma python shoe, courtesy of the artists; Belmacz, London
Saelia Aparicio, Dissection of some first memories, 2019, Mouth blown glass, paprika, garlic and bay leaf soap, prosthetic hip, grandma python shoe, courtesy of the artists; Belmacz, London