Private view: 28 of April 2017 6-9 pm
Exhibition dates: 29 of April to 7 of May
Why do you see what you do not see? What I see, is an extension of my mind, a rational reality. The world begins to exist at the limit of my skin. I am constructing physical pyramids and pyramids of information between the pixels and my body.
My daily life unfolds: a laptop sits open in front of me, a book is on top of my laptop while I check a message on my phone. Similarly to the layering of the history and how these layers sit on top of each other; dogs go to school, kids not necessarily. Ignoring history encourages repetitious malfunctions, an image is allowed to move between and beyond the constraints of the television frame.
Forever be banished to a state of ambivalence in-between layers of pyramids in a pyramid; the conquest, the colonial period, independence, the revolution, eras of modernisation, or could I be two things at once? The tamales oaxaquenos vendor’s recorded voice traveling in the streets of Mexico can be recognised in that of the call to prayer in a religious setting. Lets flip the pyramid on its head and look at it as if there was a mirror in-between, Mesoamerican obsidian mirror and the mirror that the spaniards used to trick the native tribes.
Mexico is both; a pyramid top going up and simultaneously down. It is the first time in my life I feel truly dizzy. The feeling, days and weeks later never fully goes away. The whole body has eyes. I allow my body to see, hear, feel and savour things but even when I am naked, I wear gloves. Body is alive and alert. I am the grass beneath my feet.
Sisters From Another Mister is a joint artistic identity of Milda Lembertaitė (‘87, Lithuania) and Amelia Prazak (‘87, Switzerland). We have a free-wheeling practice employing gender play, witty sculptural forms, musical interludes and video works, in which we often feature. Humorous scenarios function as a pretext for more complex positions. Our approach to technology is a bodily and emotional one: the use of video as an extension to the physical self. Where is the last frontier of the human, a lost frontier, embedded in the geological time, artificial authenticity, stretching through eternity? Here, in the new evolution, the human body unwilling or unable to keep up with the technology and demands of global capital, dreams of another existence, a life constantly shifting its borders and colours, plunged literally into another element: the importance of being elsewhere. The idea of displacement or fragmentation of bodies: body as a human-scape, a spiritual matter, a visual geometry lies at the centre of our research. How to be physical and not just a surface?
Selected exhibitions and performances include: X (The Sonnenstube, Lugano, Switzerland, 2016); Perímetro: Cine Expandido (Centro de Cultura Digital, Mexico City, Mexico, 2016); Why Are Carrots Orange? (Hotel Maria Kapel, Hoorn, Netherlands, 2016); Rahmen des FESTIVAL (Schwarzwaldallee, Basel, Switzerland, 2016); Che c’è di nuovo? (MASI Museo d'arte della Svizzera Italiana, Lugano, Switzerland, 2016); Fictions Are Realities To Come (Zabludowicz Collections, London, UK, 2015); 10,000 Litres (The Place, London, UK, 2015); Anthias (Hotel Pullman London St. Pancras, London, UK, 2015); Pool (CGP, London, UK, 2015); Frosted and Defrosted (44 Albion Street, London, UK, 2014); Chroma (The House of Peroni, Portland Place, London, UK, 2013); The Grass Is Greener On The Other Side (Roundhouse, London, UK, 2013); Celeste Prize (Centrale Montemartini, Rome, Italy, 2012); Rodin Reflections (Sadler’s Wells Theatre, London, UK, 2012); Casablanca (V&A, London, UK, 2012).
Exhibition supported by the Swiss cultural Fund UK.
Chalton Gallery is supported by the Arts Council of England