Statement:

Just a simple movement, a few millimeters of space on the blank page. The “s” at the beginning of “show” moves to the end of “group” overturning the meaning of the sentence. From an affirmation, a question arises: how?

It seems fitting—after all, it’s the beginning of the year: a new chapter is opening, and we are wondering how we should approach it this time. Which foot should we start with?

All the artists featured in this show are asking themselves the very same questions, seeking a collective, deeper truth through their new bodies of work.///

The how answered by Rachid Ben Ali feels profoundly tied to our present times, steeped in themes of rage, sex, and politics.

In his latest works on paper, he exposes the brutal truths of our society—a factory-like sequence of actions and bodies (or objects?).

The distorted expressions of humanity uncover a broader spectrum of emotions, lingering in the grey area between silent horror, spoken pleasure, and the contradictions of contemporary culture.

Atousa Bandeh’s new collages steer the exhibition’s quest towards a collective, ontological shore: by using collage and photography, Bandeh transforms overlooked fragments of everyday life into cohesive narratives, bridging external sociopolitical realities with deeply personal, hallucinatory interpretations.

Distorted figures, ethereal colors, and the looped landscape framing the works are all elements of her multi-layered creations, reflecting the fluidity of identity and memory and inviting a deeper exploration of perception and meaning.

Dianne Hagen lingers on the horizontal line that connects earth and sky, suspended in the grey area of existence, where there is no main narrative but a simple—though provocative—contemplation.

Her works stand as windows, portals that strip our perspective of distracting plots, gently guiding us to the essence of things: simultaneously deep and superficial, a dance of playful contrasts.

Mirroring the truths of one’s existence seems to be the main purpose also behind Milena Naef’s new works, which deal with the theme of motherhood and the contradictions, prejudices, and complexities that surround it.

With clever references to fairy tales and technology, she introduces us to a magical universe made of ancestral symbols, animals, and hidden messages.

Her glass works transfer drawings: in one, new crack lines are integrated through the firing process, loosening up and continuing the creative flow. In the other, the slick, shiny surface of the glass displays engraved and meticulously planned drawings.