Carbon 12 is enthusiastic to announce the group exhibition, À Bout de Souffle. The exhibition includes artworks from artists Omar Barquet, Olaf Breuning, André Butzer, Gil Heitor Cortesão, Jojo Gronostay, Michael Sailstorfer, Sara Rahbar and Anahita Razmi. We spend no time in between reminiscing and disremembering. With sights set towards the immediate future, we relinquish all notion of the present. Never remaining within the stillness of a moment. À Bout de Souffle (‘breathless’) is an exhibition that occurs and unfolds as a deconstruction of one, fleeting moment. In isolating a cinematic still, our feet grounded, the exhibition seamlessly flits in and out of the present moment, encouraging us to absorb, and to release. As a bubble expands in size, with its iridescent walls shifting in endless lucid colors, the ever-growing anticipation of being suspended in tension only grows - the artworks from the exhibition drift between various states of calm and calamity. Jojo Gronostay’s artwork frames the hand of a street vendor, barely grasping ropes connected to blankets that serve as displays for fake designer products. Through capturing a transient state, a moment in transit, he juxtaposes conflicting elements of calm and chaos. Anahita Razmi’s video installation focuses on hand movements and technological devices, composing a new choreography using stock footage videos of scrolling hands and fingers. Razmi explores and searches for new ways of navigation by reframing these gestures or motions that are seemingly intuitive and internalised by applying a new “non-fitting”, “exotic”, sonic connection to them. Razmi draws a relation to musical instruments – tapping, plucking, scrolling: How are we touching a touch screen? How are we touching a drum or a string instrument? Sara Rahbar’s War series (2008-2010) is a reflection on the global sociopolitical context of our times. Her textile-based assemblage, overridden with predominantly military objects - bullets, pickaxes, horse bridles - their brusque material portions splayed and sectioned in a surgical manner. Their arrangement translates an inherent, deep-seated feeling of dread, tightly bundled together and yet, vividly exposed.