“de nos jours”

“de nos jours”

Emanuel de Carvalho
Jean-Philippe Dordolo
Jack Jubb
Ruoru Mou
Andrei Pokrovskii
Margo Trushina

curated by Domenico de Chirico

opening night
October, 14
6-8 pm

48 Brook Street,
London W1K 5DR

“de nos jours” non fa riferimento ad un presente quotidiano così come non si riferisce all’oggi nel senso di ciò che è definibile come contemporaneo, bensì abbraccia una veduta più ampia che abbandona la concezione tradizionale occidentale del tempo per concepire un presente più fluido e accogliente che non deve sia fare i conti col passato sia non vivere l’ansia del futuro. Una concezione di questo tipo si avvicina al concetto filosofico del presentismo, tuttavia la qui presente collettiva non intende i concetti di passato e futuro come due costrutti umani totalmente inesistenti, essa piuttosto vuole marcare il presente, espanderlo come status quo del divenire, tracciare un soffio di esistenzialismo che vicendevolmente annusa momenti di presente per poi passare ad altri, al fine di decantare il soave persistere del qui et nunc.

Emanuel de Carvalho (Portuguese-Canadian) work reflects on issues pertaining to fluid and non-binary gender-identities. Recent works include large-scale paintings depicting bodies in performative stances, often the artist’s own, intertwined (and responding to) inanimate structures. Objects and bodies are depicted as a believable extension of our world, purposefully unabsorbed in themselves and placed with the aim to gaze back at the viewer while being beheld. The absence of sexual imagery is an attempt at redressing the scarce representation of queer bodies in art historical canons whilst destabilising the hyper-sexualisation of queer identities and histories in contemporary art practices. The construction of compositions incorporates two basic elements that form the core of human perceptive response, flesh and chiasm, as described by the phenomenologist Merleau-Ponty. Bodies and objects (flesh) intersect (chiasm) and trigger an emotional response that triggers the beholder’s pre-conceived notions of queer imagery. In this way, the paintings reference principles devised in Diderot’s Salon, which state that the painter’s task is to arrest, attract and enthral the beholder. De Carvalho questions that if perception is an acquired construct, moulded by experience and learning, it can also be subjected to self-reflection and potentially to change.

Emanuel de Carvalho (Portuguese-Canadian) is a London-based visual artist. De Carvalho is currently enrolled at the Turps Banana Art School Studio Painting Programme after having completed a PhD degree at the University of Amsterdam. Their practice is predominantly focussed on painting while encompassing other mediums such as writing, drawing and photography.

In her work, Margo Trushina explores the intersection of bioart and new feminist materialist ethics. Her living sculptures and environments reflect upon recent discoveries in neuroscience, biotechnology and ecology through the lens of personal experience. In resonance with posthumanist turn in critical and political theory, the artist rediscovers more- than-human agencies within her own body undergoing physiological transformations. Interested in immediate and often obscured interactions between human and nonhuman actors, she redefines her notion of the self through the relationship with radical others at the intimate level, where the boundaries between her flesh and that of the world are porous, opened to new mutualistic alliances. In tune with speculative ethics of care, Trushina pursues direct interspecies relationships as her way to address current environmental challenges — sea-level rise, species extinction, outbreaks of zoonotic diseases, pathologic gene mutations. The artist offers a subjective material vision of these problems by tying together substances of different nature — from steel and neon to corals and breast milk. Her fictional environments and sculptures reflect habitats and bodies affected by climate change yet still breathing, therefore calling for an ethical response.

Engaging with the diversity of agents entangled and intertwined with each other and their surroundings, she makes visible a variety of transcorporeal imprints in the bodies of others — humans and other animals, plants, water, light, soil, stones and fossils. To this purpose, she creates situations of intensive proximity to the other, allowing viewers to experience the transformative potential of actual and imagined touch (haptic visuality). In the artist’s view, such interactions actualise almost neglected communication trajectories and promise to inspire new forms of perception, similar to what Laura U. Marks calls empathic nonunderstanding.

Andrei Pokrovskii’s works are devoted to the problem of relations with various places, the issue of attachment to spaces (real, mythical or virtual) through the experience gained in their context: sensual and behavioral, meditative and emotional. In his works there is always a “stage” with the characters who inhabit or come from this place. On this “stage” the scenery controls the characters-actors through the created atmosphere and conditions of stay. In this way, through the body manipulations both actors and viewers gain the exceptional experience of staying in a particularlocation.

Jack Jubb (b. 1993, United Kingdom) is a painter living and working in London. Jack creates ghostly airbrushed paintings deriving from a bricolage of digital images spanning e-commerce, social media, and cinema amongst other sources. These blurred, desaturated renderings seek to examine the political and emotive state of the “poor image”, contemporary notions of haunting, and the ever- present threat of the quotidian becoming strange.

Jack completed his BA from Goldsmiths School of Art. Selected group shows include Earthlings, The Residence Gallery (London), Halcyon on and on, Franz Kaka (Toronto), Being Here, Kupfer Project (London) and Gnosis Show, Daisy’s Room (London). Forthcoming solo show at DJ Berlin (Berlin).

Jean-Philippe Dordolo’s work investigates notions of power and subversion through references to art history, and culture at large. These are often treated with a touch of humour and pathos. His use of drawing, sculpture and painting aims to challenge modes of representation and hierarchies. He often references the grotesque, editing features and exaggerating them. This extends to his material research where surfaces are drawn on with pastels and crayons, or saturated with colourful resin and expanding surface texture.
Dordolo is interested in the place of the viewer and the subject matter in the construction of a scene. Images are cropped as a reference to cinema and photography. The analogy continues in the way drawn scenes allude to moments ‘on the brink of…’, like suspended in time. With Die Raubvögel the nose grows into a beak. The wings sweat as the body of the creature is cropped and ultimately bound to its base plate. The vulture spreading and reaching out on the left, the cockerel on the right: nightmare at first, then finally daylight.

Ruoru Mou: «My works often mediate between a point of departure and a conclusion. Manifesting as sculpture, performance, installation and film they become forms of movement. Usually, but not always, the act of making becomes a process of recollection. This methodology is currently rooted in my interest in causality; cultural and archival inheritance; the process of translation; personal and collective history. I attempt to localise memory in concrete and yet permeable locations, whilst also engaging in an ongoing investigation of transitional and ‘non-spaces’. Advocating for different modes of play, the works slip between sculpture, craft and childhood games such as origami and modelling flying mechanisms. Narratives are constructed in the emulation of specific gestural language; calligraphic practice, paper folding, or the movement of flight. Stories are often being told when a subject or object rhymes its way through a seemingly unrelated setting. Often documented in moving-image or sculptural forms, the making process consists of repeated trial and error, which overtime creates a causal history of material and labour. Formatting the artworks as an anecdote or a prediction that is in opposition to arrival, I aim to think less of producing the artwork for presentation at a set moment, instead, working out a way to reconfigure the temporal constraints of spectacles discovered along the way. Causality is particularly pronounced in the act of configuring the works. As the objects undergo a constant state of ‘shape-shifting’, audiences are encouraged to question their past and future itinerary, working out the causal relationship between them. Often times, the works get recycled and reactivated to form new associations. Through toying with materiality beyond a known material state, the objects’ are stripped of their predetermined functions, and caught in their process of ‘becoming’».

Ruoru Mou 牟若儒 (b. 1997, Florence, Italy) lives and works in London. Mou graduated with a BA in Fine Art from Central Saint Martins College, London in 2021, and was a recipient of the Grampus Heritage PEATS Program at the Cyprus College of Arts (2020) and the Silver Arts Award (2019), and shortlisted for the Sid Motion Gallery Prize (2021). Solo Exhibition includes Becoming a Crane (2021) at Daisy’s Room Gallery, London, UK. Group exhibitions includes Three Degrees of Separation (2021) at Changing Room Gallery, London, UK; Walls All Around (2021) at Fusion Design Centre, Nottinghan, UK; Might Arrive (2021) at Safehouse 1, London, UK; Unearthed (2020) at Cyprus College of Art, Lemba, Cyprus; Twenty-Five Ponds (2019) at Off-site Hampstead Heath, London, UK; Get To Know You Better (2019) at The Cock Tavern, London, UK; Young Modulus NW1 (2018) at The Crypt Gallery, London, UK and Tate Exchange (2018) at the Tate Modern, London, UK.

“de nos jours” Emanuel de Carvalho, Jean-Philippe Dordolo, Jack Jubb, Ruoru Mou, Andrei Pokrovskii, Margo Trushina. curated by Domenico de Chirico photo: Andy Keate
“de nos jours”: Emanuel de Carvalho, Jean-Philippe Dordolo, Jack Jubb, Ruoru Mou, Andrei Pokrovskii, Margo Trushina. curated by Domenico de Chirico photo: Andy Keate

"de nos jours"
“de nos jours”: Emanuel de Carvalho, Jean-Philippe Dordolo, Jack Jubb, Ruoru Mou, Andrei Pokrovskii, Margo Trushina. curated by Domenico de Chirico photo: Andy Keate

"de nos jours"
“de nos jours”: Emanuel de Carvalho, Jean-Philippe Dordolo, Jack Jubb, Ruoru Mou, Andrei Pokrovskii, Margo Trushina. curated by Domenico de Chirico photo: Andy Keate

"de nos jours"
“de nos jours”: Emanuel de Carvalho, Jean-Philippe Dordolo, Jack Jubb, Ruoru Mou, Andrei Pokrovskii, Margo Trushina. curated by Domenico de Chirico photo: Andy Keate

"de nos jours"
“de nos jours”: Emanuel de Carvalho, Jean-Philippe Dordolo, Jack Jubb, Ruoru Mou, Andrei Pokrovskii, Margo Trushina. curated by Domenico de Chirico photo: Andy Keate

"de nos jours"

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