Adaptacja

From the outset of our work on this project, we knew that we wanted to adapt our profile and its features to suit our hosts’ format. Marcelle Alix is our peer; it was founded around the same time and has developed a distinctive programme based on shared interests. But instead of looking for similarities and differences, we assumed these would emerge naturally. However, when developing the exhibition, we had to view our own programme from an external perspective — figuratively speaking — to see it as a hand that we would put into someone else’s glove. This image sets the backdrop to the exhibition’s concept.

The titular term “adaptation” belongs to the vocabulary of various fields, including nature, technology, art and psychology. While it may not necessarily be a subject of research, it can serve as a model of attitude, particularly in such an unstable world we live in. It was somewhat of a revelation when we noticed that the artworks selected for the exhibition could be viewed from this perspective, in that they all inherently contain chips of the overall concept and reflect the intensity of the adaptation process.

Capital U. A fusion of natural elements with civilisational waste growing out of concrete. A three-dimensional object spread out like a map. Aluminum honeycomb. An insect nest equipped with a light bulb. Handless arm. A tree-shaped figure. Zoe’s suit. A dry leaf the color of oil paint. Vermilion puddles. Trees have eyes. What you are looking for is beyond the image. Fingerprints everywhere. Not all of them are yours.