Liminal Path

Graphic design @calce___ Silvia Minali
Vernissage on the 2nd of May from 6pm-8pm
Exhibition is open from 3rd-8th of May at 11am-1pm and 3pm-7pm
Location: Vent Space
Link to event:
Liminal Path
The term Liminal, being a threshold of perception I think it takes well into it the concept of joining three different people and their boundaries in a single thing and passage, passage that is the labyrinth and the ‘being inside the’ exhibition itself. Being inside the labyrinth, through that path. Being inside an experience, an emotion.
This exhibition is the union of three artists whose works are linked by an emotional and aesthetic rendering that can coexist, similar but with different meanings. We therefore decided to create a labyrinthine path in which the singularities can coexist and at the same time maintain their individuality of expression, giving life to a place and an experience that alone would not be able to create.
about the visual installation and the sound (mutating tangle)
projection→reflection – presence→absence. attraction and disgust. hard and slimy. What face does paranoia have? slimy, lurking, as insistent as the sound of metal against metal, but as intangible as a reflection.
I repeatedly place my body in the center of it. Interstep. Chasm. Forest. How is the forest today? What do we mean to the forest? Do I even have the right to enter it and be part of the ecosystem synthesis that is demonstrably taking place within it? Can we raise the forest or is he raising us? And how do we communicate with him to prevent his destruction? I count the number of times I have inhaled and the number of times I have exhaled. I walk his lines. I repeatedly place my body in the center of it. I walk along its edge, watching it
silently. It is watching me too. I try to be constant, but when I move in it – from stump to stump, through roots and through thick spruce branches – I can‘t remember where I came from. I‘m lost in gaps and divides. On purpose. I collect and photograph discarded items. I‘m
interested in any tracks and routes that lead back to a person. Time and again I am removed from this space by a booby trap as an evidence of quiet defiance. I am thinking of the words of Eduard Glissant, who would rather paint the whole forest, so he doesn‘t have to wonder how individual trees leave. We must deal with the crisis comprehensively and we must think globally. I am trying. On the way back to town, I‘ll pick up a piece of assembly foam so I can scan it and preserve it as evidence. In the meantime, I‘m just practicing sensory vigilance on myself and my camera. The important thing is repeated forays into places I know intimately so that I can scan them for
The original is rebuilt in a new one that reverses that original. Everything merges into one diverse, vibrant whole – a metaphor for the forest.
With my paintings I am in conversation with emptiness, asking strange questions without answers. I recreate fever dreams from childhood, endless limbos where objects are forming and dissolving without ever reaching their final forms in calm but unnerving ways. With my recent works I am playing with a more minimalist approach, focusing on symbol-like objects and creating irritating compositions, poking at the subconscious and forming nonsensical
sentences for the viewer to decipher.
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Posted by Brit Kikas