IDK HOW TO DESCRIBE IT BUT THE PEAS ARE UPSIDE DOWN
A solo show by DAGNINI, curated by Lizaveta Matveeva
4.11 – 9.12
Smalville Space, Neuchatel, Switzerland
The title of the exhibition is taken from a found meme, where a Twitter user is reposting a photo of a menu with an image of green pea and commenting as something seems wrong to them. This meme is a documentation of a glitch in reality filled with such failures.
Dagnini collects and manipulates likewise glitches in her practice aiming to capture the reality rift. The show at Smallville is presenting one ecosystem where virtual reality and the physical world coexist and replace each other, like in Plato's cave, where the reality is as real as shadows on the walls.
The artist on purpose mixes her work and found footage which is echoing the absurdity of her characters and performances. And if images and videos from the Internet are actual scenes taking place in real life, Dagnini's performances are staged and are particularly designed to represent the chaos of the world as an apocalyptic absurd.
– Lizaveta Matveeva
https://smallville.ch
A solo show by DAGNINI, curated by Lizaveta Matveeva
4.11 – 9.12
Smalville Space, Neuchatel, Switzerland
The title of the exhibition is taken from a found meme, where a Twitter user is reposting a photo of a menu with an image of green pea and commenting as something seems wrong to them. This meme is a documentation of a glitch in reality filled with such failures.
Dagnini collects and manipulates likewise glitches in her practice aiming to capture the reality rift. The show at Smallville is presenting one ecosystem where virtual reality and the physical world coexist and replace each other, like in Plato's cave, where the reality is as real as shadows on the walls.
The artist on purpose mixes her work and found footage which is echoing the absurdity of her characters and performances. And if images and videos from the Internet are actual scenes taking place in real life, Dagnini's performances are staged and are particularly designed to represent the chaos of the world as an apocalyptic absurd.
– Lizaveta Matveeva
https://smallville.ch
I DECIDED TO MULTIPLY
FOLLOWING THE BODY
FELIPE BAEZA, ANTONIUS-TIN BUI, DEBRA CARTWRIGHT, CARLOS CASUSO, KEVIN CLAIBORNE, GIULIA CREȚULESCU, DAGNINI, NICOLO GENTILE, XANDRA IBARRA, HAMED MAIYE, CARLY MANDEL, TAMARA SANTIBAÑEZ
NOVEMBER 18 - DECEMBER 22, 2023
Fragment Gallery, 39 West 14th, #308, New York
The show examines how artists express and challenge the notion of the body as politics, with a specific focus on Queer bodies and their identity formation, the Black and Brown body, bodies in religious cults, as well as body modification as a way of self-identification. The body can also be seen as a protective shell and a cyborg—a combination of human and machine. Two different approaches are used to highlight these themes: the method, which might be simply described as showing 'presence through absence,' presented in this exhibition, is an active dialogue with the 'exposed body.'
https://fragment.gallery/
FELIPE BAEZA, ANTONIUS-TIN BUI, DEBRA CARTWRIGHT, CARLOS CASUSO, KEVIN CLAIBORNE, GIULIA CREȚULESCU, DAGNINI, NICOLO GENTILE, XANDRA IBARRA, HAMED MAIYE, CARLY MANDEL, TAMARA SANTIBAÑEZ
NOVEMBER 18 - DECEMBER 22, 2023
Fragment Gallery, 39 West 14th, #308, New York
The show examines how artists express and challenge the notion of the body as politics, with a specific focus on Queer bodies and their identity formation, the Black and Brown body, bodies in religious cults, as well as body modification as a way of self-identification. The body can also be seen as a protective shell and a cyborg—a combination of human and machine. Two different approaches are used to highlight these themes: the method, which might be simply described as showing 'presence through absence,' presented in this exhibition, is an active dialogue with the 'exposed body.'
https://fragment.gallery/
Four-channel video "I DECIDED TO MULTIPLY" is the video manifesto of Dagnini. The fragmented text is interwoven with fragments of documentation of the artist's performances and internet memes. In her performances, Dagnini pursues the obsessive idea of moving away from the familiar form of the human body. Bodies as a finished object, a social marker, and a prison of imagination. On the one hand, this quest is inherently doomed. Any attempt by the artist to acquire another form is just a game of transition, but for Dagnini, it's a serious game, and if there is even a moment when it is possible to disidentify, the "genie*" flies "out of the bottle."
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* Referred to the song of Christina Aguilera, "Genie In A Bottle", RCA, 1999
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* Referred to the song of Christina Aguilera, "Genie In A Bottle", RCA, 1999
