un/sense
Christie’s, London SW1Y 6QT
Anya Palamartschuk, Charlie Russell, Darren Lynde Mann, Derrelle Elijah, Ece Bayram, Emily Lazerwitz, Emily Woolley, Emma Louise Moore, Gal Leshem, Hannah Lim & Hugo Harris, Helen Carr, Hoa Dung Clerget, Kate Burling, Katrina Stamatopoulos, Liberty Quinn, Lucy Gregory, Maayan Sophia Weisstub, Maees Hadi, Nikolaos Akritidis, RedBlack D. Lawrence, Samuel Padfield, Scott Young, Shadi Al-Atallah, Shilun Ding, Soa J. Hwang, Tayo Adekunle, Tom Connell Wilson and Virginie Tan
In a world that stopped making sense, Un/Sense is an exhibition that embraces complexity and contradiction, avoiding linear, cohesive structures. Instead, it nurtures a constellation of artistic voices that speak to contemporary instabilities with hopes to find solace within and through the chaos. In doing so, this exhibition embraces that which is absurdist, placing such absurdity at its core.
Absurdity, while stubbornly avoiding definition, serves as a tool to reinvent what it means to ‘make meaning’, together and in solidarity with each other. Paradoxically, in times of crisis, reverting to forms of ‘making sense’ that diverge from normative logic and seem irrational, becomes almost rational. Confronted with the unexpected unreliability of our physical senses as well as societal constructs, what once formed the privilege of security is now tipping over, growing increasingly absurd instead. This absurdity is witness to the canons, which, sensical no more, are exposed to be narrow, exclusive, and incomplete. Possessing a power of reinvention, absurdity is neither true or false, neither good nor bad. Just like reality itself, it simply is.
Un/Sense aims to manifest such destabilisation and to internalise the chaos of external reality into its very structure and content. The exhibition is curated to mirror the state of confusion the world is submerged in, with artworks transcending their positions by sliding down the walls, contents escaping their frames, rooms losing their corners and movement hiding behind the illusion of fixture. By posing questions about the ways art should or should not be exhibited, the exhibition’s body metaphorically reverts to the instability of contemporary “normality”. In a world that time and time again has stopped 'making sense', artworks and curation jointly celebrate the creative potential of absurdity as a tool to transgress and reimagine.
Mimicking the reality of confusion associated with the post-pandemic era, the exhibition constructs its own microcosmos through diversity of artistic expression. With works drawing on sensory and visual illusions, art-historical canons and their inversion, senses of belonging and estrangement, the exhibition intertwines reality with representation and past with present. As a result, it positions itself within the gaps of ‘normality’ and aims to fill these with a multiplicity of creative voices. In this nonlinear space, there exists no single, streamlined reality, and yet, narratives are constructed in solidarity with one another. By embracing this absurdity and situating it at its core, the exhibition collectively makes sense of that which is otherwise nonsensical, thereby becoming un/sensical.
For sales enquiries, contact us at info@kollektivcollective.com
For online viewing room, see here.
Christie’s, London SW1Y 6QT
Anya Palamartschuk, Charlie Russell, Darren Lynde Mann, Derrelle Elijah, Ece Bayram, Emily Lazerwitz, Emily Woolley, Emma Louise Moore, Gal Leshem, Hannah Lim & Hugo Harris, Helen Carr, Hoa Dung Clerget, Kate Burling, Katrina Stamatopoulos, Liberty Quinn, Lucy Gregory, Maayan Sophia Weisstub, Maees Hadi, Nikolaos Akritidis, RedBlack D. Lawrence, Samuel Padfield, Scott Young, Shadi Al-Atallah, Shilun Ding, Soa J. Hwang, Tayo Adekunle, Tom Connell Wilson and Virginie Tan
In a world that stopped making sense, Un/Sense is an exhibition that embraces complexity and contradiction, avoiding linear, cohesive structures. Instead, it nurtures a constellation of artistic voices that speak to contemporary instabilities with hopes to find solace within and through the chaos. In doing so, this exhibition embraces that which is absurdist, placing such absurdity at its core.
Absurdity, while stubbornly avoiding definition, serves as a tool to reinvent what it means to ‘make meaning’, together and in solidarity with each other. Paradoxically, in times of crisis, reverting to forms of ‘making sense’ that diverge from normative logic and seem irrational, becomes almost rational. Confronted with the unexpected unreliability of our physical senses as well as societal constructs, what once formed the privilege of security is now tipping over, growing increasingly absurd instead. This absurdity is witness to the canons, which, sensical no more, are exposed to be narrow, exclusive, and incomplete. Possessing a power of reinvention, absurdity is neither true or false, neither good nor bad. Just like reality itself, it simply is.
Un/Sense aims to manifest such destabilisation and to internalise the chaos of external reality into its very structure and content. The exhibition is curated to mirror the state of confusion the world is submerged in, with artworks transcending their positions by sliding down the walls, contents escaping their frames, rooms losing their corners and movement hiding behind the illusion of fixture. By posing questions about the ways art should or should not be exhibited, the exhibition’s body metaphorically reverts to the instability of contemporary “normality”. In a world that time and time again has stopped 'making sense', artworks and curation jointly celebrate the creative potential of absurdity as a tool to transgress and reimagine.
Mimicking the reality of confusion associated with the post-pandemic era, the exhibition constructs its own microcosmos through diversity of artistic expression. With works drawing on sensory and visual illusions, art-historical canons and their inversion, senses of belonging and estrangement, the exhibition intertwines reality with representation and past with present. As a result, it positions itself within the gaps of ‘normality’ and aims to fill these with a multiplicity of creative voices. In this nonlinear space, there exists no single, streamlined reality, and yet, narratives are constructed in solidarity with one another. By embracing this absurdity and situating it at its core, the exhibition collectively makes sense of that which is otherwise nonsensical, thereby becoming un/sensical.
For sales enquiries, contact us at info@kollektivcollective.com
For online viewing room, see here.
20 – 29 July 2022
Installation view: un/sense (19 July – 29 July 2022) at Christie's, London. Courtesy of Kollektiv Collective and the artists. Photography by Dor Even Chen.
Trace by Hoa Dung Clerget: un/sense (19 July – 29 July 2022) at Christie's, London. Courtesy of Kollektiv Collective and the artists. Photography by Dominique Croshaw.
Installation view: un/sense (19 July – 29 July 2022) at Christie's, London. Courtesy of Kollektiv Collective and the artists. Photography by Dor Even Chen.
Installation view: un/sense (19 July – 29 July 2022) at Christie's, London. Courtesy of Kollektiv Collective and the artists. Photography by Dominique Croshaw.
Head of Hypnos by Hannah Lim & Hugo Harris: un/sense (19 July – 29 July 2022) at Christie's, London. Courtesy of Kollektiv Collective and the artists. Photography by Dominique Croshaw.
Into The Garden by Anya Palamartschuk: un/sense (19 July – 29 July 2022) at Christie's, London. Courtesy of Kollektiv Collective and the artists. Photography by Dominique Croshaw.
Installation view: un/sense (19 July – 29 July 2022) at Christie's, London. Courtesy of Kollektiv Collective and the artists. Photography by Dominique Croshaw.