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EVA
Curated by Erika Ceruzzi and Zoë Field

Kelly Akashi, Erika Ceruzzi, Line Ebert, Zoë Field, Hannah Levy, Peter Linden, Kareem Lofty, Luke More, Brandon Ndife, Andrew Sokol

March 4 - April 10, 2016
Opening Reception, March 4th, 6-9pm

a great flood destroys civilization
an alginate mold of her navel, casts with it a finery of hairs
an orange in the sky falls,
a lemon rises

slowly choreographed, a tethered motion
   an anonymous machine puts the hand into question-
describes the transition from what happens within the vehicle to that which takes place outside it,
  the machine does not feel the soft resistance of a fingertip, but recognizes it’s touch
synchronizing the activities of looking into and looking upon.
   immersed in the romance of the kneaded and slowly carved; of human fingers wet with pulp.
 
The Objective is to produce a fragmented archaeological modest quote as concrete statement, something that is never quite sure, cannot be decided. She declares,
                                          we know something about what they were eating
 
Eva is developing the nuance in Response-Technology, capacity to touch, as a tool, a grip, a probe, a tip of DNA,
orbiting within anti gravity, the feel of mud.

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Felix Melia
Ozu's Arsehole

March 4 - April 10, 2016
Opening Reception, March 4th, 6-9pm

“The eyes dart as the result of sudden and absurd cognizance; the spasmodic recognition of a body that just ticks over. Not his, theirs. His sound changes constantly. His sound is not in time with the rhythms of the train. They tick over, subduing the cries that ache silently between repetitions of the same buckling down.”
 
Felix Melia’s new film, Ozu’s Arsehole, 2016, examines the alienation each of us experiences while negotiating everyday spaces and everyday interactions. Outside spaces and internal anatomy are intersected by ghostly figures and sleeping bodies, while three interconnected stories weave a silent narration through and over the work.
 
Ozu’s Arsehole explores the preservation and destruction of the body within contemporary living spaces. Its characters, both visible and invisible, are symbolic beings, effected and conditioned by hegemonic ideas of ‘good’ and ‘bad’ space – and by extension ‘good’ and ‘bad’ bodies. The space of the film and space of the gallery are permeated by an atmosphere of physical and social disaffection.
 
The themes and effects of the film are extended through the entirety of Melia’s installation. Quasi-architectural and totemic sculptures recall a variety of exterior and interior constructions that impact on the significances of the body. They evoke narratives that inform our habituated actions as citizens. Everyday rituals– throwing something away, putting on shoes, mopping a floor, hanging up a coat – are objectified, and become static, but the presence of a living body remains, waiting to be resuscitated. Together these sculptures form a kind of interior design, based on the shifting freedoms and fetters of a city. It’s a space waiting to be inhabited.
 
Felix Melia (b.1990) lives and works in London. He has had projects and exhibtions at; Serpentine’s 89plus Marathon, Cinema Palace, Marrakech; Biennale of Moving Image at the Centre d’Art Contemporain, Geneva; LimaZulu, London, Carreau du Temple, Paris. Melia is currently Writer in Residence at Whitechapel Gallery, London.

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UPCOMING EXHIBITIONS
Priscilla Jeong
Rob Chavasse
 
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For inquiries contact, [email protected]
Interstate Projects is a Non-Profit arts organization
To learn more about how you can support our program
please contact, [email protected]

www.interstateprojects.org