Ayesha Tan Jones, THE BODY IS A PORTAL, YOUR SHADOW IS THE PROOF, 2020. Installation view.

Ayesha Tan Jones

Ayesha Tan Jones

Ayesha (b. 1993) is the co-founder of Shadow Sistxrs Fight Club, a physical and meta-physical self defence class for women, non-binary people, and QTIPoC, combining Brazilian JuJitsu and herbalism to create a holistic approach to self defence, through community ritual and collective healing.

Selected recent commissions/exhibitions include: Serpentine Galleries, London (2019+2020) IMT Gallery, London (2019) Mimosa House, London (2018), ICA, London (2018-2020) Cell Project Space, London (2018) Gropius Bau, Berlin (2018) Yorkshire Sculpture Park (2016-17). Ayesha is represented by Harlesden High Street.

 

Ayesha’s work is a spiritual practice that seeks to fuse activism and art to present an alternative, queer, optimistic dystopia. They work through ritual, meditating through craft, and building forms from their dreams. Ayesha approaches activism through art, creating diverse, eco-conscious narratives that aim to connect, enthrall, and induce audiences to think more sustainably and ethically. Traversing pop music, sculpture, alter-egos, digital image, and video work, Ayesha sanctifies these mediums as tools in their craft.

Avery Noyes, VOLT SHOCKING HEAVENLY STORM! (I WISH I COULD HARNESS THAT POWER), 2020. Installation view.

Avery Noyes

Avery Noyes

Avery Noyes (b. 4 April 1991) shares his time between New York City and rural Maryland. He attended the School of Visual Arts in New York City, graduating with a Bachelor of Fine Arts in 2015. His practice mines the digital landscape for iconic themes that are translated into works that deal with eroticism, escapism, and identity within the rural American working class, with an emphasis on maritime life and culture surrounding the Chesapeake Bay where he grew up. Overt references to anime, video games, and fantasy are made throughout his work that combine with intimate and regional motifs to describe a personal narrative. He has shown in group exhibitions internationally such as “The Generation of Choice” at Gern en Regalia (2018) in Queens, New York, and “Strawberry Hill” with The Orange Garden in London (2019). Solo exhibitions include “Dream of the Shore Near Another World” at Harlesden High Street Gallery in London (2019).

I’ve been inspired by anime screenshots and animation cels for some time, and have been exploring different media and ways to layer and achieve certain effects. This piece was inspired by Sailor Jupiter, along with Hirohiko Araki’s characters. Capturing a moment of explosive action was my main goal, to create my own superhero attack, that would call forth Jupiter, the Roman God of lightning. The sigil above the head of the original character is a prosperity sigil of Jupiter, which invokes wealth and abundance. It’s an image that invokes power and prosperity and banishes evil.

Ava Phen and Glenn Young, HAUNTED HITS, AyGeeTee/AMDISCS 2015. digital composition on transparent PVC, frozen shredded coconut

Ava Phen with the Estate of Glenn Young

Ava Phen with the Estate of Glenn Young

Ava Phen (Perth / Ho Chi Minh) (b. 1996) is an artist working with images and spaces. She is a former studio arts teacher for primary and secondary school students in Ho Chi Minh and is a member of the curatorial collective Underground Flower. Her body of work concerns the ritual re-investment of ‘aura’: a mobile poetics accumulated between spaces, images, and online viewers. In particular, she strives to establish connections between ancestral and contemporary rituals and desires by the process of decoding and re-encoding images.

For Sajetta, Ava works with the Estate of Glenn Young to animate and contextualize exhibition plans shared by Ava and Glenn at the time of his passing in 2017. Glenn was an active creator in early digital art and music communities online. His practice misused and repurposed obsolete software to create digital compositions and interactive websites, often in collaboration with other musicians, artists, and platforms such as Rhizome, Ay Gee Tee, LoVid, and AMDISCS.

Sun Woo, ENCOUNTER, 2020. Installation view.

Sun Woo

Sun Woo

Sun Woo (b. 1994) received her BA in Visual Arts from Columbia University in the City of New York. She has an upcoming solo show at Foundwill Art Society (FAS) in Seoul (2020), and her works have been presented at 2/W (Weekend) in Seoul (2018) and Leroy Neiman Gallery in New York (2017).

Selected work, titled Encounter, depicts two wax doll candles, emitting flickering light against one another. Candle—a symbol of devotion, frailty, and often even romance in a contemporary context—becomes an emblem of energy created by the encounter of two or more entities. The work focuses on the flaming spark of these energies that blaze radiantly within the bounds of their feeble existence, much like the candlelight that fills its surroundings with delicate light until it eventually fades.

Alternating between canvas and digital screen, Sun Woo explores the force of popular culture in our lives and the ways in which today’s commodity products and digital images are transformed to bear meaning and “spirit” of their own beyond practicality. In examining how these silent entities embody and speak about the contemporary psyche—desires, anxieties, and deficiencies of our society—Sun Woo borrows from found images circulating on the net and digital conventions of computer programs like Photoshop. Through her assemblage of contemporary iconography, Sun Woo paints a fantastical landscape of modern life, defined by eerie spatial compositions that collapse fact and fiction.

Eden

Eden

Part 1: Proteinic Geontopower1

In the third part of Ethics, Baruch Spinoza proposed that all things have conatus: an endeavour to persevere, to maintain themselves. He posited that humans as well as all other beings and things have the capacity to be affected, and that their potentials are unknowable. He questioned: what can a body do? And we can go further. Design and architecture writers Minh-Ha T. Pham and Léopold Lambert posit that: “contained within Spinoza’s question is the radical idea:

We not only don’t know what a body can do, but (…) we don’t even know what a body is.2

Therefore, a Spinozan body is not necessarily even biological, or lively. It is any constitution brought into existence by material, social, and spatial encounters and forces.

By applying a Spinozan notion of a body to biopower, we can think about its operation beyond the boundaries of human bodies and even of life itself, dissolving the boundaries of bio-somas and beginning to appreciate agricultural forces as bodies of their own: being managed and managing, and coming into intimate contact with an unimaginably wide array of biological, atmospheric, corporate, and geological bodies.

We process economic/production webs within the guise of discreteness. As our cells, our bodies regenerate, they are doing so as cartographies of hyper-proteinic global food systems. Our cells metabolize health trends, international trade agreements and market crashes. They are queued by monoculture and excessive growth, beckoned towards monoproductivity. We act as translators, letting shards, dusts of intercontinental products enter our cellular networks as amino acids, insulin mimickers, and estrogens to maintain our seemingly discrete selves. We become extensions of an agricultural body: actively amplifying its effects while it become less and less traceable, hidden in its embodiment.

Miniaturization has turned out to be about power; small is not so much beautiful as pre-eminently dangerous.3

At its miniaturized influence, the distinction between bodies becomes as porous as the distinction between countries that share agricultural production: like a viscous vegetable oil made from Indonesian palm oil, South American soybean oil, and Russian sunflower oil all bound inside a single-use Chinese container. Soy coaxes its way across strict border regulations and bodily passages. Travels across alibaba and grain-fed meats. Pushes, unrelenting and soft, transmuting its gargantuan force across materials, industries, and forms. We encounter neoliberal workings in our stomachs congealing as tofu, milk, our daily bread.


1. exceprted from Proteinic Geontopower, Agustine Zegers (2019) 2. Léopold Lambert and Minh-Ha T. Pham. “Spinoza in a T-Shirt.” (2015) 3. Donna Haraway, “The Cyborg Manifesto.” (1985)

Part 2: Queering the work of art in the age of globalized production

Instead of figuring technology as acting on bodies, we can imagine technology as working through bodies, intervening in the thoughts, actions, sights, sounds, and touch of humans. In The Work of Art Walter Benjamin asks art to undo the alienation of the corporeal sensorium, to restore the instinctual power of the human bodily senses by passing them through new technologies.

The images of our perceptions and ideas, and the metaphors with which we are surrounded, can be conceived as ‘body-and image-space’ (Leib-und Bildraum) in which our reality is engendered.4

The works presented here outstretch their material presences in time and space. Highly reproducible and without a sensible, pure “original”, their meanings are forged from their numerous social relations and spatial encounters. This de-corporalization of the image on one side of the screen is re-congealed as it’s consumed, digested, made sense of by multiple perceptual bodies; each discrete body brings with it an entire contextual world.

We consume media, we process images.

Classically valued art requires a central object to invest with capital-bound aura to inflate its value; the works here accrue value and meaning only by their intersection, their virtuality, in the collision of bodies. They are divorced from the structural integrity of the single artifact, body, intelligence or creator. Created responsively to trends (the sneaky aesthetic mainlines of Capital), yet resisting commercial value. Bound to history, but wary of its popular tales. Pursuing un-“natural” kinships, fundamentally compromised, maybe ecstatic.

These are slippery, impure works residing in a space of total aura, summoned into their multiple existences by layering, overlapping, and changing. 5

Here in the realm of total aura, we are what we eat: and the images we consume are adulterated bodies, admixed, nested and uncertain as the numerous multi-globalized components which comprise our household commodities and our dietary choices. It’s not by accident that these works (stretched beyond market valuation and created without commercial intent) find their home in a market, a knotted node of the overlapping bodies of commerce. In the “family-run” import store we see an ambiguous, queer potentiality for non-standard reproduction and consumption. The small business as a site of virtuality contains a unique potency where small meets dangerous.

It represents a knotted, vibrating sinew of underbelly biopower, where uncertain logistics commune with gut-feel desires and traditions new and old.

The bodies contained herein (political, biological, spatial, familial, cultural, geographical, aesthetic) are fundamentally pessimistic. It is a generative sort of pessimism, one which refuses altogether the idealistic utopias of purity and structural integrity. Carving out an uncanny space of liberation from the market, we are also free from the pursuit of innocence. Our work takes our deeply damaged world as it comes, its ambiguous affects, dubious logistics and slippery contexts.

From these, we build our Eden.


4. Sigrid Weigel, “Images: The Creaturely and the Holy” (2013)
5. excerpted from “Cybersurgery”, Julie Doyle (2007)

Eden

presented by Harlesden High Street & Underground Flower

featuring Stacie Ant, Clementine Bedos, Neckar Doll, Chloe Feinberg, Sun Woo, Avery Noyes, Ava Phen with the Estate of Glenn Young, Ayesha Tan-Jones and Twee Whistler.

Gallery images by João Neves, Courtesy of Balcony Gallery, Portugual
Text by Ava Phen with Agustine Zegers & Julie Doyle; excerpts courtesy of the authors.

Super Market images courtesy of VHT Grocery Store, Australia
We are proud to show our support for local small businesses.

Curated by Linda Mognato.

Co22380

Co22380

Juliette Berthonneau
Salomé Chatriot
Douma/Guittet
Samuel Fasse
Iseult Perrault

Like everybody else, we were in a hurry.
The situation took us as far as Brittany, along the Armor coast. Five artists, inhabiting together and inhabited by the desire to move forward despite the planetary paralysis.

Getting out of habits in order to create a new daily life, a small community where any exit from this ecosystem becomes dangerous.

Salomé was trying to connect herself to her control tower in Paris;
Samuel was unsuccessfully struggling to understand the new government measures; Juliette was collecting seashells for lack of an exhibition at the Milan Design Week; Salim was busy attempting to make his design mockups out of recycled cardboard; and finally Iseult was caring for the garden. In this space, she was looking for a structure. She discovered it: an old tree that fell last winter.

Give an old tree a second life by making it bloom. These new beds made from outdated trunks will be a refuge for insects. Over time, and perhaps for several decades, the tree will slowly be reduced while creating a viable ecosystem within and beneath the decaying biomass. When a tree dies, it has not yet fully satisfied its ecological potential. Ending is a human concept, the temporality of the tree continues to live independently, as adifferent kind of being.

Temporary Insects?

Here is the proposal of these five artists forced living together, gathering their energy to create a new ecosystem around a felt tree, made exhibition space.
Combining their forces with CovidRoom, they create a fragmented landscape in space and time through a numbers of screens livestreaming their activations in this natural place.
CovidRoom, founded by Andrea Parialo based in Roma and curated by Fabiola Mele, will extract these live images from Brittany to a Zoom and Twitch stream in order to build a new narration.
Co-22380 is presented by SAJETTA.

The idea of the exhibition Co-22380 was initiated by the artist and curator Iseult Perrault. As a curator, she previously ran Pazioli, an exhibition space in Lausanne and is currently co-curating La Totale exhibition, which next show will take place at Studio Orta – Galeria Continua – next October. Her work is articulated around pictorial researches, and an attempt to build universes for humans or for animals in 2D and 3D, whether virtual or real, uncomfortable and seductive. The installations she creates question human beings and their position in the world. Sometimes self-centred, sometimes, open onto the outside world, as a viewer. She questions the different ways of positioning our gaze in relation to our environments.
For her, the tree is as much a dynamic space in which to invest herself through painting and sculpture production, as an observatory to keep an eye on her friends who have been transformed here into temporary insect hosts. On this occasion, she imagines a monolithic structure that she paints, a new watchtower, a perch from which she overlooks the land, surrounded by strange living stones.

Salomé Chatriot focuses on the creation of physical and virtual spaces: she builds machines and installations where electronic sculptures and digital images coexist. Fascinated by the way science treats body[ies] through data-oriented objectivity, she uses potential futures and new technologies to shape a fluid, digital and precious identity. The ecosystems she produces always bear the mark of a certain healing. The well-being she wishes to transmit often involves the real-time diffusion of organic flows such as breathing. In the garden, Salomé creates parcels of breath, new visuals generated through the interaction of her breath and a biometric sensor. This performance, already presented in Geneva in 2019, evolves here in dialogue with the structure of the tree and the ecosystem of the garden. Surrounded by the delicate arms of the tree, her eggs about to hatch and her electronic devices, she re-embodies here Fragile Ecosystem. On the screen, the flesh is sublimated and reveals a fantasized organism from human to machine.
Test 1 measured; no viral charge. Hormone levels stable. She blows into a spirometer with regularity. Her fragile alveoli ensure the sharing of gas exchanges between her body membrane and the hot ambient air.”
Pierre Alexandre Mateos

Human organism is also present in Samuel Fasse’s research: He investigates on the possibilities offered by the body as an instrument of creation. He perceives new technologies as tools leading to the design and understanding of a new corporality. This multiform approach leads him to conceive a plural work, where corporeity is the main component. Samuel has created an exclusive textile piece for this new exhibition. As much supporting the tree as it is necessary for its deployment, this new cocoon structure is in tension through the diffuse branches. In his global approach, he acts like a ship’s captain, bringing together an eclectic crew of researchers as well as other artists, composers, developers, and leads them to produce performances, installations, and sculptures.
On a smaller scale, his work often borrows from the nautical vocabulary that he invests through sails, hooks, pulleys, wishbonic structures… These elements are here trapped in the plant structure to form a collaborative harmony.

Juliette Berthonneau is a French textile designer, specializing in the development of innovative three-dimensional textile materials for interior design.
In 2018, she began her research on challenging industrial Jacquard loom and weaving technologies. Juliette plays with the adaptability of shapes in a dynamic process, fascinated by the poetic relation between transformable space, human motions, haptic perception and textile behaviors. Her ambition is to give a broader picture of the textile field, inspired by architecture as well as inspiring for architects. Juliette and Samuel merge their textile approaches to create a new net, hand-meshed with wire. They include some shell fossils found around the house. The resulting architectural piece is an extension of the textile cocoon, resembling both a pedestal and a rigid but delicate spider’s web.

Salim Douma is one of the founders of Douma/Guittet. Their practice blends creative research with a strong attention to contemporary lifestyles, emerging business models and the growing impact of technology on our society to deliver relevant solutions for today and tomorrow. They collaborate with startups and SMEs to develop innovative products and meaningful experiences.
For Co22380, he creates unique and hand carved sittings with upcycled wood from the garden. He investigates the several points of vue of the exhibition to offer a series of landscape proposals to physical visitors.