Größ F(r)ictions

PICTURE BERLIN Summer Session 2017 is proud to present the final exhibition: Groß F(r)ictions

Showcasing new work by our current residents:

Hannah Bates (US)
Nati Canto (BR)
Haleigh Collins (US)
Ella Cooper (CA)
Katie Hector (US)
Ryan Molnar (US)
Tassia Quirino (BR)
Stevie Southard (US)
Holly Veselka (US)

The exhibition is curated by Teena Lange.

Fact is stranger than f(r)iction. Truth is stranger than f(r)iction.
Without f(r)iction, objects would be unable to gain traction on any surface. One would need to push something to get motion in opposite direction. Shoelaces would untie themselves, zippers would always unzip (unless they were upside-down), nails and screws would work themselves loose, and thriving as we know it would be impossible. In other words: there would be no resistance as the meteorite entered Earths atmosphere. F(r)iction creates heat. Great f(r)iction embrace great f(r)iction. 
Be brave being great.

The artists in alphabetical order:

Hannah Bates - Latex Space, 2017, Plexi and Latex, dimensions variable

My work explores perception as it relates to photography’s objectivity. The photographic installations seek to understand the validity of images in a generation that seems preoccupied with representations falseness. By constructing lies through subtle photographic installations, they openly challenge the viewer without concealment. The photographic installations provide experiential moments that shape encounters and expectations, and play on uncertainties.

Nati Canto - The Kick Out, 2017, Video, 5”25

Every attempt is a form of depravity. This is the experience, the intrigue of many, the audacity to confront rules without exceptions, where stupidity is the land where we meet. I try to unfold the magic foreign but it seems so very hidden. I suddenly realize that the one who is not, cannot just be. This is the song “Geni e o Zeppelim” from the Musical “Opera do Malandro” (1978) by Chico Buarque.

Haleigh Collins - Bagged, Painting, 2017, 50cm x 70cm

Gloss drips from thick and glistening bulges, producing a familiar scent. The forms twist and shine. The corporeal shapes are contained and restrained, but liquid drips off the canvas. The sensory experience evokes the organic and natural, with an artificial, distorted twist.

Ella Cooper - Confessional, 2017, Videoloop, 45’

There is only one way through.

Katie Hector - Inverted Construction (Green), 2017, Painting, 102cm x 100cm

Infrastructures germinate rhythmically cannibalized by a multitude of shifting traumas. A canon, a template, a mode of destruction defines a contemporary homogenized cultural. "The other" remains in the gaze while toiling to invert standardized procedures that perpetuate "normal”. Sabotage and perversion are necessary strategies to reclaim material expectations. While malleable gestures, spatial textures, and time comprise the arsenal of innovation.

Ryan Molnar - Can I touch you, 2017, Photographic Print, 100cm x 92cm

raindrops rushing corporal flowers temporal fleeting joy tangled webbeanxiety drift dream poems loner plastic flowers shop consume think feel zoom in disappear

A photograph is always about desire. To have, to hold, to consume. These are the photographs that berlin made me take. They reflect desires, uncertainties, and disorientation being projected on the landscape of an unknown place. The installation exploits the ambiguity of images and the malleability of their potential meanings. The seemingly disparate images fall folding onto each other, forming relationships and narratives altogether. 

Tassia Quirino - White Screen, 2017, 19 Digital Prints on Polyester, 68cm x 43cm

How do we see colors? How much time do we spend looking at screens? Is a white screen really white? The human eye has cone cells, which are sensitive to different types of wavelengths of light. 
There isn’t any objective “real” color. Light encompasses all of the various energy intensities that produce the perception of colors, but the perception is white. White Screen is an installation composed of 19 photos. The first image corresponds to a photo taken with a cellphone from a white screen and the others are zoom into this image for more details. 

Stevie Southard - Clowntemplation, Large scale print, mirror, makeup, keyboard, dice, 2017, dimensions variable

what does it mean to become
a temporary landmark
where we are with me here
where you are waiting
who unfixed every flag ever planted
i believe that time is imposed
let's end at the beginning

Holly Veselka - How Stable is this House?, 2017, Plexi and Vinyl, dimensions variable

How fragile is this house?
Your sky was mine in 1989. It's the same sky now. 
Windows reflected, tinted, negated, or absorbed. 
Many views for a body, a structure, a system, to absorb the sky.
Transparent. Opaque. Reflective. 
Precarious constructions and ideologies.
Will this house remain tomorrow?