Image Credits: Roberto Ruiz
HOUSE OF CHAPPAZ and JOEY RAMONE propose a shared booth presentation of work by 3 female artists, Momu & No Es, Vicky Uslé and Anna Moreno. Their projects highlight some deep interconnections between technology, architecture, and geopolitics but also history as a means to imagine new scenarios of the future.
The presentation will adopt the form of an expanded spatial installation comprising painting, sculpture and digital prints, framed within cultural theorist Donna Haraway's concept of tentacular space. In the wake of the Covid-19 pandemic, the project questions the relationship of bodies to their habitats, but also indirectly comments on change and the difficulty of moving into the future from a challenging present. The project deals with timely questions regarding rethinking ideas of community and social relationality.
Momu & No Es' - Lucía Moreno (Basel, 1982) and Eva Noguera (Barcelona, 1979) - works focus on the attempt to understand what constitutes a mentality: is it the body? the narrative? the modes of communication? the modes of relationship? our habitat? The driving force could be the difficulty of saying who we are and what makes us who we are. We all know that the Internet and applications have transformed the way we relate to others, changing our languages and also the way we perceive ourselves. But what happens when the virtual sphere is our only bridge of communication and our real environment is limited to our bedroom?
Vicky Uslé (Santander, 1981) dares to look into the 'garden' and claim it for herself. Innocence may be one of the motors of artistic production but it is far from being ingenious. The artist not only recognizes the depth of the history of art, but also knows that her analysis of the garden in painting questions the very notions that we have about it and the space as an environment, the fragmentation and the breaking up of surfaces, even in the choice of materials, a fiction of inheritors, not forgetting that representation ("capacity of vividly presenting a theme") is the article of reality of art or, in the words of Cocteau, it is "a lie which always tells the truth".
For Anna Moreno (Barcelona, 1984) that was growing up amidst the real estate bubble of the tourism industry and the Olympics, it is crucial to understand how certain architectural radical utopias have been co-opted by processes of financialization. Her work relates the architecture of clubs that emerged in the Catalan coast during that time with the expansion of tourism along the Mediterranean. The work points out how utopian projects of the 70s arguably failed to revolutionize the way we inhabit cities, giving way to entertainment venues such as clubs and vacation resorts. Moreno's works reflect on the fine line between utopia and dystopia and propose new considerations of recent history to speculate on a new imagination of the future.
