NIGHT VISION — LAGE EGAL #180

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Dear Friends, we are delighted to invite you to the opening of NIGHT VISION by the artist duo LINA MAZENETT / DAVID QUIROGA, in the framework of the BERLIN ART PRIZE 2022

Thursday, 01.09 2022, 6—9pm 
02.09 — 14.10 2022 
FRI — SUN, 3—7pm 

LAGE EGAL [PROJECT SPACE KIMGO] 
Curatorial projects by Pierre Granoux 
John-Schehr-Straße 1, 10407 Berlin-Prenzlauer Berg
www.lage-egal.net 

LAGE EGAL is kindly supported by ARTBUTLER and ARTLAND 

Berlin Art Prize 2022 — What’s art been up to? After two years of pandemic pause, the experimental, solidarity-based, independent Berlin Art Prize is back to ask: what does contemporary art in Berlin have to say? The Berlin Art Prize concept is simple yet singular – all Berlin-based artists are invited to apply. A five-member jury selects nine nominees according to an nearly anonymous process. The nine artist nominees are each invited to present a solo exhibition in one of nine project spaces, making the Berlin Art Prize 2022 once again a major collaborative project. We are with LAGE EGAL one of the 8 partner spaces and present the work of the artist duo MAZENETT QUIROGA in our temporary space hosted by KIMGO. 

Mazenett Quiroga has been working collaboratively since 2014 (Bogotá, Colombia). They work at the intersections of Indigenous knowledges, landscape, myth and time, sourcing the breadth of their practice from the lived histories and naturecultures of the Amazonas, and the deconstruction of Western Science disciplines. Embracing this, the duo investigate the interconnections that exist between life forms and the erroneously referred to “resources” of our environment, as well as how culture appropriates, and spreads these connections. Their paintings, sculptures, and installations frequently explore mythology in an urban setting through material experiments and embedded hidden shapes. In Motherboard Motherearth (2020), cut-outs from motherboard waste reconnect ethnographic artifacts as technology from another era, pre-Hispanic goldsmithing items of ancient pre-Columbian tribes, whose ritual function is dependent on knowledge that is codified in each piece, to be deciphered. Body Modification (2021) made of coconut flower, resin, piercings, paint, and stainless steel chain, speculate on the vital world of plant intelligence and non-human beings. The artists consider how mutations and a drawn-out process of coevolution with other species can change a plant’s anatomy. The large oil painting series Devouring fire (2022) examines flames, and the surrounding vegetation. Fire spreads through an enigmatic and lush space, a sort of epiphany and ambiguity between dream and reality. A jaguar dressed in gold appears at the bottom of the image and moves toward the viewer while hiding among the flames. In works like Snake People (2019) and Walking Palm (2021), everyday objects are taken as inscriptions through re-imaginings, and the entanglements between the organic and the industrial. Channeling deeper forms of attention to the life of forest ecosystems, the artists ponder on the temporality, origin, and symbolism of key components of the global economy— in their relationship with more-thanhuman intelligence and interspecies interaction, to show their hybrid modes of representation. 

LAGE EGAL is a subversive art space without a permanent location, founded in 2012 by artist-curator Pierre Granoux. Instead of following the existing mechanisms of art presentation and mediation, LAGE EGAL proposes a system that constantly re-evaluates and redefines itself. LAGE EGAL takes the temporal notion of kairos – a moment when conditions are favourable for carrying out a decisive action – as its guiding principle, always moving quickly and responding to opportunities as they arise. Due to its nomadic and temporary nature, LAGE EGAL frequently collaborates with other art spaces. In the case of the Berlin Art Prize, LAGE EGAL is collaborating with PROJECT SPACE KIMGO — a space for artistic interaction and international and local collaborations.

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