Archive 2020 KubaParis

Synthetic Soft

Exhibition view
Exhibition view
Exhibition view
Exhibition view
Exhibition view
Exhibition view
Exhibition view
Exhibition view
Leon Stoffelen, 09, oil on stretched pillow case, 60 x 35 cm, 2020
Leon Stoffelen, 09, oil on stretched pillow case, 60 x 35 cm, 2020
Exhibition view
Exhibition view
Ersin Eken, Synthetic Soft, installation view, 2020
Ersin Eken, Synthetic Soft, installation view, 2020
Ersin Eken, Synthetic Soft, installation view, 2020
Ersin Eken, Synthetic Soft, installation view, 2020
Ersin Eken, Synthetic Soft, installation view, 2020
Ersin Eken, Synthetic Soft, installation view, 2020
Exhibition view
Exhibition view
Leon Stoffelen, 04, oil and acrylic on canvas, 95 x 65 cm, 2020
Leon Stoffelen, 04, oil and acrylic on canvas, 95 x 65 cm, 2020
Leon Stoffelen, 04, oil and acrylic on canvas, 95 x 65 cm, 2020
Leon Stoffelen, 04, oil and acrylic on canvas, 95 x 65 cm, 2020
Leon Stoffelen, Fructose Microdose, oil on stretched pillow case, 45 x 30 cm, 2020
Leon Stoffelen, Fructose Microdose, oil on stretched pillow case, 45 x 30 cm, 2020
Leon Stoffelen, boyfun, oil on canvas, 60 x 35 cm, 2020
Leon Stoffelen, boyfun, oil on canvas, 60 x 35 cm, 2020
Leon Stoffelen, boyfun, oil on canvas, 60 x 35 cm, 2020
Leon Stoffelen, boyfun, oil on canvas, 60 x 35 cm, 2020
Leon Stoffelen, Untitled, oil on photo frame, 30 x 21 cm, 2020
Leon Stoffelen, Untitled, oil on photo frame, 30 x 21 cm, 2020
Leon Stoffelen, Real People Hard Places, oil on canvas, 120 x 100 cm, 2020
Leon Stoffelen, Real People Hard Places, oil on canvas, 120 x 100 cm, 2020
Leon Stoffelen, Real People Hard Places, oil on canvas, 120 x 100 cm, 2020
Leon Stoffelen, Real People Hard Places, oil on canvas, 120 x 100 cm, 2020

Location

LOKAAL

Date

16.12 –30.12.2020

Curator

Ersin Eken and Leon Stoffelen

Photography

Leon Stoffelen

Text

Both Ersin Eken and Leon Stoffelen turn a simultaneously passionate and mechanical gaze to the image-inary. We see figures posing in blue hues, (not) acting in anticipation of being framed, inhabiting a sterile cycle in which life anticipates being pictured and then is. Porn, steel tropical plants, fabric softener packaging and corporate room dividers make up a decor of fleeting realities and erotic dissociation. The idea of origin runs throughout, in the form of sperm, second hand experiences, steel drippings, and in the unnatural concoction Mewtwo. Dissociation and objectification are then proposed in relation to sexuality and how it nurtures escapism and a kind of homeopathic dilution of connection.

Charlotte van de Graaff