Pawel Wylag and Ake Zorn
Artists / Creative Duo

Paweł Wyląg and Ake Zorn – creative duo making photos, photographic installations and video works. Even before they met, each of the artists was known to a wider audience – Wyląg, as a photographer working in the fashion and advertising industry, and Zorn, as an exhibition curator, currently: stage designer. For them to work as a duo is a kind of collision – of extremely different practices and aesthetics. Their work style is based on the Dada tradition, playing with the random, at random. They often use found elements, giving them a new context and thus new meanings. The leitmotif of their work is a process-oriented approach to photography. They document phenomena on the border of mass culture, art and design.

The “Totems” (2020) photo series verges on surrealism, but also the Dada tradition and random play – featuring everyday objects and an egg. The latter is a carrier of processual meanings, and constant visual-logical expressions, which examine the multitude of spatial-temporal relationships. Totem refers to the heritage of modernity and cultural colonization; it is like a looping cargo-cult ritual that exists outside place and time; but also like a mysterious ritual of a tribe – the same tribe that continues to build up its tradition, even if perhaps it never actually existed.

The second series, titled “House creatures” (2020) is an exercise in addition and subtraction. On the one hand, the record deprives the furniture of its utilitarian function – on the other hand, providing it with new meanings and aesthetic values. The photographs document the absurd process of empowering and domesticating a piece of furniture in an intimate space. We are interested in a piece of furniture as a sculpture, in associated rituals of possessing and hiding, but also in its temporariness, its bowels, viscera and emotions subjected to oppressive control.

Pawel Wylag and Ake Zorn
Artists / Creative Duo

Paweł Wyląg and Ake Zorn – creative duo making photos, photographic installations and video works. Even before they met, each of the artists was known to a wider audience – Wyląg, as a photographer working in the fashion and advertising industry, and Zorn, as an exhibition curator, currently: stage designer. For them to work as a duo is a kind of collision – of extremely different practices and aesthetics. Their work style is based on the Dada tradition, playing with the random, at random. They often use found elements, giving them a new context and thus new meanings. The leitmotif of their work is a process-oriented approach to photography. They document phenomena on the border of mass culture, art and design.

The “Totems” (2020) photo series verges on surrealism, but also the Dada tradition and random play – featuring everyday objects and an egg. The latter is a carrier of processual meanings, and constant visual-logical expressions, which examine the multitude of spatial-temporal relationships. Totem refers to the heritage of modernity and cultural colonization; it is like a looping cargo-cult ritual that exists outside place and time; but also like a mysterious ritual of a tribe – the same tribe that continues to build up its tradition, even if perhaps it never actually existed.

The second series, titled “House creatures” (2020) is an exercise in addition and subtraction. On the one hand, the record deprives the furniture of its utilitarian function – on the other hand, providing it with new meanings and aesthetic values. The photographs document the absurd process of empowering and domesticating a piece of furniture in an intimate space. We are interested in a piece of furniture as a sculpture, in associated rituals of possessing and hiding, but also in its temporariness, its bowels, viscera and emotions subjected to oppressive control.

  • Adrián Balseca: Routing Rubber
    Jan 19 – Mar 30, 2024
    Canal Projects
    New York, USA
    ROUTING RUBBER (January 19th – March 30th, 2024), showcases Ecuadorian artist Adrián Balseca’s (Quito, b. 1989) research on the plantation rubber industry in the Amazon. Produced on black and white, 16mm film, The Skin of Labour (2016) and its accompanying archive, provide a historical revision of the Amazon’s rubber boom, which saw its highest production from the years 1879 to 1912. Through the project, Balseca challenges the idea of the Amazon as a natural horizon, centering this territory as the origin of industrial modernity. (more…)
  • Lars Harmsen: Collision
    Publication
    Slanted
    International
    Collision by Lars Harmsen is the collision of intuition and the human experience. A visual journey of photographs, design, and ideas. With this publication, the author mercilessly settles accounts with the last 10 years of his creative work. Numerous pieces and creations, from Slanted, PosterRex and 100for10 to freelance works and other projects have been destroyed, cut up and reassembled. A maximum of carnage. With a minimum of diplomacy. (more…)