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Patrick Fabian Panetta

CAFE DURBAN

01 12 2018 — 05 01 2019
JONAS, 2018
, Zinc-coated metal object, approx. 10 x 4 x 3 cm, installation view, MÉLANGE 2018WATCHED AND RECORDED /  FS – 1483, 2008, Screen and sound recording, photoshop. min. 00.50, Collection of 1800 films recorded since 2002, installation view, MÉLANGE 2018Patrick Fabian Panetta, installation view, MÉLANGE 2018CAFE DURBAN (The Overmind), 2018, Widescreen, hd video and sound, min. 3.35, installation view, MÉLANGE 2018CAFE DURBAN (The Overmind), 2018, Widescreen, hd video and sound, min. 3.35, installation view, MÉLANGE 2018CAFE DURBAN (The Overmind), 2018, Widescreen, hd video and sound, min. 3.35, installation view, MÉLANGE 2018CAFE DURBAN (The Overmind), 2018, Widescreen, hd video and sound, min. 3.35, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, Video StillAPEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, Video StillAPEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018
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For the second solo show ‘Cafe Durban’ at MÉLANGE Patrick Fabian Panetta orchestrated a concerto of three video works that branch out towards a climax of an overflow of information. They create nothing but visual noise, while pondering along in strange harmony. One by one each video starts and creates a visual and musical over lap, just to paste into calm relaxing blue screens. The works each question the act of a creative process, not giving in to a sense of refusal, but to strive for what material could still contain usable potential, accepting somewhat absurdity as a maxim.

Starting with a re-mastered version of Watched and Recorded / Abstraction (2002 – 2018) where Panetta produced a series of short films that all function alike: a set of geometrical shapes appear on a monochrome screen in a random order. Suddenly one of those shapes, here the smallest of three rectangles, begins to move. While the rectangle makes its way to slowly disappear from the screen and you wait for any kind of punch line; instead you are confronted with a permanent loop of the same scene. Accompanied by randomly chosen music, which in case of the presented piece is some African music that was playing while the artist recorded the animation, this minimalistic gesture becomes even more absurd, as the rectangle joyfully dances out of sight.

Projected onto a screen Patrick Fabian Panetta presents APEX, 2013 (Recontextualized) (2017).
 ‘Begun as a compendium of disparate images edited and sequenced by artist and filmmaker Arthur Jafa over the course of five years, APEX is conceived as a scenario of sorts for a feature film project. In Jafa’s words, ‘I’ve always understood [APEX] as akin to Tatlin’s Monument to the Third International [1919– 20], which of course was never built. I’ve come to understand it as a model for both a film – a $100 million sci-fi epic – and as a kind of preor anti-cinema’. Reaching for his oft-mentioned mantra, ‘a cinema capable of matching the power, beauty, and alienation of black music‘, APEX maps out an ontology inextricably bound up with what the artist calls ‘black potention’ as an emblem of the very absence of any condition of possibility. Jafa’s extensive research into black culture and his theories surrounding a ‘black aesthetic’ led him to produce APEX, an eight-minute video comprised of hundreds of images – objects, people, moments, and events – which race by against an apocalyptic soundscape. The densely sequenced concatenation, organized according to various ‘affective proximities’, produces ‘spooky entanglements’, abstract narrative surges and coded emotional resonances, all of which index Jafa’s ongoing interest in the ‘abject sublime’, doom sutras and the contingent nature of being black.’

Cafe Durban (The Overmind) (2018) continues the idea flooding the viewer with content in a rapid tempo. Images of sci-fi and fantasy burst out of the screen at the viewer, while a song of a Durban (SA) based Death Metal band The Overmind grinds him down. The work reaches rock bottom, as there is no content left, unable to recognize any of the images. Thus, for every image used, there are thousands of others that could take their places. The almost aggressive act of confiscating pre-existing material for the own work, questions the borders of artistic freedom, not only its legality but also in an artistic regards.

These parasitic strategies, recall William Burroughs dictum of ‘Language is a Virus’ and ‘Words beget image and image is virus’. The question is, what happens if the host becomes immune to its illness?

And thus, what if creativity is just a synonym for “well-employed-strategic-decisions”? It should have become clear, that this term and its fellow friends such as innovation, ingenuity or originality, have altogether been successfully assimilated to commercial and managerial practices, making them virtually unable to consider serious. In the wake of digitalization, reshuffling and copying from the fluid circulation of images and open access, the employment of ‘creativity’ is likely a euphemism for what is trending and upcoming. It is in this way understood as an adaptive mechanism, constantly filtering its surroundings for every bit of context, information and morphing into anything that could be of interest at this given moment.

Patrick Fabian Panetta’s works concern the very activity of artistic practice itself, its expectations or assumptions, sharing a considerable amount of skepticism towards a status quo of renewed traditional ideas of authorship and authenticity. Over the years of working, he slide into a relentlessly booming optimism of ‘artistic progress’, envisioning ever newer and better products of art.

 

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Patrick Fabian Panetta

CAFE DURBAN

01 12 2018 — 05 01 2019
JONAS, 2018
, Zinc-coated metal object, approx. 10 x 4 x 3 cm, installation view, MÉLANGE 2018WATCHED AND RECORDED /  FS – 1483, 2008, Screen and sound recording, photoshop. min. 00.50, Collection of 1800 films recorded since 2002, installation view, MÉLANGE 2018Patrick Fabian Panetta, installation view, MÉLANGE 2018CAFE DURBAN (The Overmind), 2018, Widescreen, hd video and sound, min. 3.35, installation view, MÉLANGE 2018CAFE DURBAN (The Overmind), 2018, Widescreen, hd video and sound, min. 3.35, installation view, MÉLANGE 2018CAFE DURBAN (The Overmind), 2018, Widescreen, hd video and sound, min. 3.35, installation view, MÉLANGE 2018CAFE DURBAN (The Overmind), 2018, Widescreen, hd video and sound, min. 3.35, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, Video StillAPEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, Video StillAPEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018APEX, 2013 (Recontextulized), 2017 Widescreen video, sound, min. 8.30, installation view, MÉLANGE 2018
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For the second solo show ‘Cafe Durban’ at MÉLANGE Patrick Fabian Panetta orchestrated a concerto of three video works that branch out towards a climax of an overflow of information. They create nothing but visual noise, while pondering along in strange harmony. One by one each video starts and creates a visual and musical over...

Secession 2

Raphael & Franz machen Musik für Dich

07 12 2018 — 07 12 2018

MÉLANGE is willing to present a musical performance by ‘Raphael & Franz machen Musik für Dich’ and Viola Relle. ‘Piano und Gesang. Humor und Missverständnis. Mut und Konsens. Raphael & Franz machen Musik für dich. Das Duo aus der bayerischen Hochebene umspielt und umarmt die Menschlichkeit mit all ihren Widersprüchen und Schattenseiten. Am Kabarett streifend...

I Caught A Rat, We Caught Some Air

a group show in a book by MÉLANGE

15 11 2018 — 18 11 2018
I Caught A Rat, We Caught Some Air, installation view, MÉLANGE 2018I Caught A Rat, We Caught Some Air, installation view, MÉLANGE 2018Malte Masemann: Untitled, 2018, installation view, I Caught A Rat We Caught Some Air, MÉLANGE 2018Talisa Lallai: Untitled, 2018, installation view, I Caught A Rat We Caught Some Air, MÉLANGE 2018Nico Ihlein: befriending in der Homezone, 2018, installation view, I Caught A Rat We Caught Some Air, MÉLANGE 2018Louisa Clement: Untitled, 2018, installation view, I Caught A Rat We Caught Some Air, MÉLANGE 2018Kasper Bosmans: Untitled, 2018, installation view, I Caught A Rat We Caught Some Air, MÉLANGE 2018
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on view at Art Düsseldorf, Markus Lüttgen, Booth G09 A group exhibition based on the Brothers Grimm tale the ‘Pied Piper of Hamelin’ presented in a book with contributions by Catherine Biocca, Kasper Bosmans, Aline Bouvy, Benjamin Brett, Stefano Calligaro, Louisa Clement, Paul Czerlitzki, Bradley Davies, Vera Drebusch, Anna Fehr & Takeo Marquardt, Stefan Fuchs,...

Bertrand Flanet

Colorful Maladies

11 10 2018 — 03 11 2018
Bertrand Flanet, Colorful Maladies, 2018, laser-cut balsa wood, paint, 29,7 x 42 cm, MÉLANGE, 2018Bertrand Flanet, Colorful Maladies, 2018, laser-cut balsa wood, paint, 29,7 x 42 cm, MÉLANGE, 2018Bertrand Flanet, Colorful Maladies, 2018, laser-cut balsa wood, paint, 29,7 x 42 cm, MÉLANGE, 2018Bertrand Flanet, installation view, MÉLANGE 2018Bertrand Flanet, installation view, MÉLANGE 2018Bertrand Flanet, 2018, 12’00”, digital animation, color, soundBertrand Flanet, 2018, 12’00”, digital animation, color, soundBertrand Flanet, 2018, 12’00”, digital animation, color, soundBertrand Flanet, 2018, 12’00”, digital animation, color, soundBertrand Flanet, 2018, 12’00”, digital animation, color, sound, installation view, MÉLANGE 2018Bertrand Flanet, 2018, 12’00”, digital animation, color, sound, installation view, MÉLANGE 2018
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What if our nightmare are real? What if you could brew your own monster? Selective breeding of various animals often result in hideous forms of a certain species. Dogs without snouts, naked cats, rabbits with massively oversized ears. To be honest, those are not monsters, but overly adorable and human made abominations, that are often...

Gwenn Thomas

3 Standard Candles 2017-18

06 09 2018 — 30 09 2018
Gwenn Thomas, 3 Standard Candles, installation view, MÉLANGE 2018Gwenn Thomas, 3 Standard Candles, installation view, MÉLANGE 2018Gwenn Thomas, Moments of Place IV, 2013-14, C print w. aluminum frame, 15.5 x 26 inchesGwenn Thomas, Moments of Place II, 2013-14, C print; aluminum frame, 18 x 25 inchesGwenn Thomas, 3 Standard Candles, installation view, MÉLANGE 2018Gwenn Thomas, Standard Candles, 2016, wood, paint, perspex, 34 x 19 x 4 cmGwenn Thomas_Moments of Places IX, 2016-2017, C print w. aluminum frame, 22 x 30,5 x 3 cmGwenn Thomas, 3 Standard Candles, installation view, MÉLANGE 2018Gwenn Thomas, Moments of Place V, 2013-2014, C print w. aluminum frame, 15x26 inchesGwenn Thomas, 3 Standard Candles, installation view, MÉLANGE 2018Gwenn Thomas, 3 Standard Candles, installation view, MÉLANGE 2018Gwenn Thomas, 3 Standard Candles, installation view, MÉLANGE 2018Gwenn Thomas, Standard, Candle, 2016, wood, paint, perspex, 19 x 34 x 4cm
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MÉLANGE, in collaboration with EXILE, is happy to announce a solo exhibition by New York-based artist Gwenn Thomas. Entitled Standard Candles, the exhibition oscillates between two bodies of work – Moments of Place and Standard Candles – visually related, yet manifested in different emotional tones. Moments of Place is a series of laminated photographs, presenting...

Loggia @MÉLANGE

Für Dich Existiert Das Alles Nicht

07 06 2018 — 31 07 2018
Installation view, Für Dich Existiert Das Alles Nicht, MÉLANGE and Loggia, 2018Anastasia Jermolaewa: Superior Essential Book Weight, Changing Lifestyle Safer Grip Foot Rest, Thaw Claw, Sushi Bazooka, Thumb Saver, Headgehog Style Balance Pod, 2018, soap casts, various sizes, MÉLANGE and Loggia, 2018Anastasia Jermolaewa: Superior Essential Book Weight, Changing Lifestyle Safer Grip Foot Rest, Thaw Claw, Sushi Bazooka, Thumb Saver, Headgehog Style Balance Pod, 2018, soap casts, various sizes, MÉLANGE and Loggia, 2018Anastasia Jermolaewa: Superior Essential Book Weight, Changing Lifestyle Safer Grip Foot Rest, Thaw Claw, Sushi Bazooka, Thumb Saver, Headgehog Style Balance Pod, 2018, soap casts, various sizes, MÉLANGE and Loggia, 2018Anastasia Jermolaewa: Superior Essential Book Weight, Changing Lifestyle Safer Grip Foot Rest, Thaw Claw, Sushi Bazooka, Thumb Saver, Headgehog Style Balance Pod, 2018, soap casts, various sizes, MÉLANGE and Loggia, 2018Installation view, Für Dich Existiert Das Alles Nicht, MÉLANGE and Loggia, 2018Birke Grom: mater_head_2, 2018, adneter marble, approx. dia. 30 cm, MÉALNGE and Loggia, 2018Birke Grom, installation view, MÉLANGE and Loggia, 2018Installation view, Für Dich Existiert Das Alles Nicht, MÉLANGE and Loggia, 2018Stefan Fuchs: Die Blüte meiner Jugend, 2018, acrylic on canvas, artist frame, 90 x 70 cm, MÉLANGE and Loggia, 2018Installation view, Für Dich Existiert Das Alles Nicht, MÉLANGE and Loggia, 2018Anna Fehr: Untitled, 2018, collage mounted on aluminum, artist frame, 44×60 cm, MÉLANGE and Loggia, 2018Anna Fehr: Zürich, 2018, collage mounted on aluminum, artist frame, 44×60 cm, MÉLANGE and Loggia, 2018Anna Fehr, installation view, MÉLANGE and Loggia, 2018Stefan Fuchs: Vertrauen. Erleben, 2018, acrylic on canvas, artist frame, 90 x 70 cm, MÉLANGE and Loggia 2018Photo: Stefan Fuchs
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A group exhibition organised by Loggia with Anastasia Jermolaewa, Birke Gorm, Anna Fehr, Stefan Fuchs Quote: Das Spiel mit der bairischen Kultur ist gewollt. Die japanischen Architekten wollen bei ihrem Streifzug festgestellt haben, dass das Münchner Stadtbild vor allem durch Erker geprägt ist. Das Modell, das sie danach entwickelten, hatte dann im Erdgeschoss eine Menge...

Aline Bouvy & Nicolas Pelzer

Late Dawn

10 05 2018 — 03 06 2018
Aline Bouvy, The future of not working, 2017, Jesmonite, fiber glass, activated charcoal, bread, dim. variableNicolas Pelzer, Cockpit Rule – True Sided, 2018, Anodized aluminum, wall mount bracket each 180 x 65 x 38 cmAline Bouvy, The future of not working, 2017, Jesmonite, fiber glass, activated charcoal, bread, dim. variableAline Bouvy, The future of not working, 2017, Jesmonite, fiber glass, activated charcoal, bread, dim. variableAline Bouvy, The future of not working, 2017, Jesmonite, fiber glass, activated charcoal, bread, dim. variableAline Bouvy & Nicolas Pelzer, installation view, MÉLANGE 2018Aline Bouvy & Nicolas Pelzer, installation view, MÉLANGE 2018Aline Bouvy & Nicolas Pelzer, installation view, MÉLANGE 2018Nicolas Pelzer, Cockpit Rule – True Sided, 2018, Anodized aluminum, wall mount bracket each 180 x 65 x 38 cmNicolas Pelzer, Source of Warmth, 2018, Anodized aluminum, kerosene lamp 46 x 62 x 21 cmNicolas Pelzer, Source of Warmth, 2018, Anodized aluminum, kerosene lamp 46 x 62 x 21 cmAline Bouvy & Nicolas Pelzer, Late Dawn, 2018, Steel, kerosene lamp, jesmonite, fiber glass, natural wax approx. 250 x 250 x 200 cmAline Bouvy & Nicolas Pelzer, Late Dawn, 2018, Steel, kerosene lamp, jesmonite, fiber glass, natural wax approx. 250 x 250 x 200 cmAline Bouvy & Nicolas Pelzer, Late Dawn, 2018, Steel, kerosene lamp, jesmonite, fiber glass, natural wax approx. 250 x 250 x 200 cmAline Bouvy & Nicolas Pelzer, Late Dawn, 2018, Steel, kerosene lamp, jesmonite, fiber glass, natural wax approx. 250 x 250 x 200 cmAline Bouvy, The future of not working, 2017, Jesmonite, fiber glass, activated charcoal, bread, dim. variable
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Looking at technology and its evolution/development is one way of perceiving the simultaneity of things: What exists at the same time in various places, can be obsolete in one and necessary in another. Everything connects, but the evolving steps in technology are only slowly getting globalized. Since we finally had the epiphany, that history is...

Edition

BOX THREE

25 04 2018 — 28 04 2018
Paul Sochacki: Democratic Therapy, 2018, gouache on paper, 24 x 30 cm, series of unique pieces, signedRaphaela Vogel: Untitled, 2018, found book page with plastic, approx. 20 x 15 cm, series of 28 unique pieces, signedJonas Lund: Jonas Lund Token Ownership Certificate, 2018, Cryptho-currency, Amount: 1 Jonas Lund Token, 28 Tokens in totalEva Vuillemin: Katze frisst Zaun, 2018, C-Print on photo paper, 24 x 30 cm, Ed. Of 14 + 14 AP, signedJonathan Monk: Untitled (Isa Genzken), 2018, digital print on paper, folded and mounted on wood, 30 x 40 cm, Ed. of 14 + 14 AP, with certificateXavier Mary: Napalm Obsession, 2018, tin & led casting, approx. 30 x 3 x 8 cm, series of 14 + 15 AP, signedTalisa Lallai: Untitled (Diapositiv), 2018, dia positive slide in plastic cover, 31 x 25 cm, series of 28 unique slides, signedEva L’Hoest: Paint from reference, 2018, found images, 3D color printed, melted plastic box, series of 14 Motifs each 1 + 1 AP, signedLina Hermsdorf: Objektträger, 2018, glass, plants, minerals & human particles (processed & unprocessed), 7,6 x 2,1 cm, Ed. of 14 + 14 AP, signedPaul Czerlitzki: Sudermanstraße 2, 2018, C copy of MÉLANGE entrance key, Ed. of 14 + 14 AP, with certificateJoachim Coucke: Who Owns Our Future?, 2018, various ipad or laptop screen covers, vinyl, various dimensions, series of 28 unique pieces, signedStefano Calligaro: Our Mélange, 2018, voucher for personal Instagram Account, digital print on paper, 14,8 x 21 cm, Ed.of 14 + 14 AP, signed
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MÉLANGE is very grateful for all the artists we had the chance to work with in the past year and very thankful of those that participate in BoxThree!!! with works by Stefano Calligaro, Joachim Coucke, Paul Czerlitzki, Lina Hermsdorf, Daniel Koniusz, Eva L‘Hoest, Talisa Lallai, Jonas Lund, Xavier Mary, Jonathan Monk, Paul Sochacki, Raphaela Vogel,...

Eloïse Bonneviot & Anne de Boer

??? Respawn (2014) Official Trailer ???

18 03 2018 — 23 06 2018
Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018Eloïse Bonneviot & Anne de Boer, Respawn (2014) Official Trailer, exhibition view, MÉLANGE and Liaux, 2018
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“??? Respawn (2014) Official Trailer ???” is a online exhibition project realised on LIAUX.ORG (Palermo, Italy), presented by MÉLANGE on invitation of Francesca Verga. This project was conceived in collaboration between the artist and the team of MÉLANGE. Reacting to a video is essentially the same as to any other art work. Our challenge with moving...

Paul Sochacki

Springs Sweet Tears of Grace

12 04 2018 — 12 04 2018

MÉLANGE is thrilled to invite you to drink and float along a special tea table arranged by PAUL SOCHACKI The event can only host a very limited amount of people. Therefore, if you are interested to join in for a selection of spring tea leaves from the east to the west of china, please rsvp...

Luca Trevisani

Hot

24 03 2018 — 22 04 2018
Luca Trevisani: caldo (Giorgio Manganelli), 2017 deep fried glass powder on lobster claws, deep fried  iron powder on dried milk thistle, deep fried copper  powder on ceiba speciosa seeds, iron chain, silicon  rubber. Installation view, MÉLANGE 2018.Luca Trevisani: caldo (Giorgio Manganelli), 2017 deep fried glass powder on lobster claws, deep fried  iron powder on dried milk thistle, deep fried copper  powder on ceiba speciosa seeds, iron chain, silicon  rubber. Installation view, MÉLANGE 2018.Luca Trevisani: caldo (Giorgio Manganelli), 2017 deep fried glass powder on lobster claws, deep fried  iron powder on dried milk thistle, deep fried copper  powder on ceiba speciosa seeds, iron chain, silicon  rubber. Installation view, MÉLANGE 2018.Luca Trevisani: caldo (Giorgio Manganelli), 2017 deep fried glass powder on lobster claws, deep fried  iron powder on dried milk thistle, deep fried copper  powder on ceiba speciosa seeds, iron chain, silicon  rubber. Installation view, MÉLANGE 2018.Luca Trevisani: caldo (Giorgio Manganelli), 2017 deep fried glass powder on lobster claws, deep fried  iron powder on dried milk thistle, deep fried copper  powder on ceiba speciosa seeds, iron chain, silicon  rubber. Installation view, MÉLANGE 2018.Luca Trevisani: caldo (Giorgio Manganelli), 2017 deep fried glass powder on lobster claws, deep fried  iron powder on dried milk thistle, deep fried copper  powder on ceiba speciosa seeds, iron chain, silicon  rubber. Installation view, MÉLANGE 2018.Luca Trevisani, installation view, MÉLANGE 2018.Luca Trevisani: ( Don't )Try This at Home, 2018, bioplastic made with rice amid, glycerol, water, vinegar, oleander flower, second-hand shirt. Installation view, MÉLANGE 2018.Luca Trevisani: ( Don't )Try This at Home, 2018, bioplastic made with rice amid, glycerol, water, vinegar, oleander flower, second-hand shirt. Installation view, MÉLANGE 2018.Luca Trevisani: ( Don't )Try This at Home, 2018, bioplastic made with Ceiba speciosa flowers, amid,  glycerol, water, vinegar, saffron- Installation view, MÉLANGE 2018.Luca Trevisani: ( Don't )Try This at Home, 2018, bioplastic made with Ceiba speciosa flowers, amid,  glycerol, water, vinegar, saffron- Installation view, MÉLANGE 2018.Luca Trevisani, installation view, MÉLANGE 2018.Luca Trevisani, installation view, MÉLANGE 2018.Luca Trevisani, installation view, MÉLANGE 2018.Luca Trevisani: wireless fidelity, 2018, UV cured print on feathers. Installation view, MÉLANGE 2018.Luca Trevisani: wireless fidelity, 2018, UV cured print on feathers. Installation view, MÉLANGE 2018.Luca Trevisani: wireless fidelity, 2018, UV cured print on feathers. Installation view, MÉLANGE 2018.Luca Trevisani: wireless fidelity, 2018, UV cured print on feathers. Installation view, MÉLANGE 2018.Luca Trevisani: wireless fidelity, 2018, UV cured print on feathers. Installation view, MÉLANGE 2018.Luca Trevisani: wireless fidelity, 2018, UV cured print on feathers. Installation view, MÉLANGE 2018.
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Man is the only animal who cooks his own food. Bread is the most technological object ever. This exhibition collects works made with natural fried materials, plastic made within the kitchen and feathers printed in the heat of UV lamps.   Kindly supported by

Benjamin Brett

Orrlando

19 01 2018 — 18 03 2018
Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018Benjamin Brett, Orrlando, installation view, MÉLANGE 2018
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