David Maljkovic’s work delves into the malleability of the collective and individual experience of time and space. The artist presents viewers with works that create their own space, time and history, while also hinting at answers to the uncertainty of an unknowable future. In so doing, Maljkovic often plays on the possibilities allowed by the mediums at hand, making works that have a more intuitive use of the materials.
Maljkovic embraces the collage method and self-referentiality by (re)using his earlier works as raw material in order to reach a high level of complexity in his work. The exhibition spins around a network of subtle signs, fragments, transformations, metamorphoses and references.
There is a certain parallelism on stage, in which, the space of everyday routine as well as artistic practice is approached. This is visible on the two-dimensional surface where a photograph serves as a backdrop for the ne network of drawing on the surface. These lines recall the various metamorphoses of the artist’s work. The interspace of these two opposing realities creates the theme.
Maljkovic’s new objects follow the subtle narrative of the collage, although not always in an obvious way. The logic of the exhibition thus continues in the objects' work that also disrupts the image and deconstructs the posited narrative. Here, the intimate space rejects its own mood, and in its deconstruction it becomes a hybrid artifact in which new experiences are being enabled.
Latifa Echakhch mines cultural materials as subject matters for her work. By deconstructing and re-presenting everyday objects, Echakhch creates sharp-witted installations that challenge cultural assumptions. In her process-based works, audiences are confronted with the traces of an action and with a part of the artists personal life.
In her most recent paintings, developed for the exhibition on site, Latifa reworked in a material and also poetic way her impressions and sentiments of long walks through Tel Aviv. Presenting it self almost as a portrait of the city, it evokes elements such as decomposition, renewal, vanishing, reconstruction that are urbanistic but also human. This beautiful new series entitled NUDE, is the pique of an ongoing process in Latifa’s work, unfolding a personal connection to her own life creating a space of intimacy between the viewer and the piece as between her and the artwork.
Reflecting on the traits and stories of life, our culture and its imprints on our way of being, the work Nova and untitled (cups) evoke an ambivalence of meaning between its original functionality and its delicacy in a decomposed state. Latifa puts forward a contrast in materiality and function where the object she uses become the holder of its own fragility and as such reports a somehow human limit of strength and durability.
Appropriating the day to day objects and elements familiar to us, every piece creates a transversal journey between the artist personal history and the immediate impression of her surroundings. As beautifully shown in Returns of the day, a mortar is filled with stones (once sand) provoking a tension that questions time itself.