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“Attached as we are to the senses, we manifest the sheer porousness of boutiques. The boutiques are categories. We have plenty of time. The problem is not how to stop, but how to articulate the politics of their passage. Every culture is the terrible gush of its splendid outward forms.”
—Lisa Robertson, Spatial Synthetics: A Theory
For Lies, her second exhibition at the gallery, Mimosa Echard presents two entangled bodies of work: a continuation of her oxidised metallic tableaux and a new series of photographs taken in a 1920s Parisian arcade.
Conceived as a modular system, the tableaux are made from electromagnetic shielding fabric, a conductive material used to create radiation-free enclosures. These impenetrable surfaces are overlaid with grids of domestic aluminium foil—a material also associated with electro- sensitive protection and paranoia—which are then exposed to various corrosive liquids, deteriorating into bleeding surfaces of green…
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Press Release
“Attached as we are to the senses, we manifest the sheer porousness of boutiques. The boutiques are categories. We have plenty of time. The problem is not how to stop, but how to articulate the politics of their passage. Every culture is the terrible gush of its splendid outward forms.”
—Lisa Robertson, Spatial Synthetics: A Theory
For Lies, her second exhibition at the gallery, Mimosa Echard presents two entangled bodies of work: a continuation of her oxidised metallic tableaux and a new series of photographs taken in a 1920s Parisian arcade.
Conceived as a modular system, the tableaux are made from electromagnetic shielding fabric, a conductive material used to create radiation-free enclosures. These impenetrable surfaces are overlaid with grids of domestic aluminium foil—a material also associated with electro- sensitive protection and paranoia—which are then exposed to various corrosive liquids, deteriorating into bleeding surfaces of green…
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