Submission
Group Show

Case Study: The Corporate Stoner

Rinella Alfonso, Bernie Autsema, Vitaly Bezpalov, Daniele Formica, Bernhard Holaschke, Myrofora Kachrimanidou, Karin Kytokangas, Nandi Loaf, Narges Mohammadi, Christian Roncea, Tommy Smits, Suyoung Yang


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Nandi Loaf, "(diy)NL%PHONEFARM_00", produced & farmed by Christian Roncea, foamboard, velcro tape, two android phones, chargers, glue, led lights
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Christian Roncea, Untitled, harlequin droppings, ink on cotton, 2020
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Myrofora Kachrimanidou, Untitled, transparent tape, various dimensions, 2021
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Suyoung Yang, "Alseep Long Away" , material-lindenwood, clock, 2019
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Vitaly Bezpalov, "The infinite amount of sand and papers will be my tomb... We will always be afraid, we will always be afraid" , 2021 // digital print on film, guitar, cigarette butts, 100 х 38 х 10 cm.
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Narges Mohammadi, performance, pure chocolate au bain marie, 2021, Bernie Autsema, portret Jiřï Kylián, bronze, 2017
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Daniele Formica, "harvest bags" , 2020/21, 3 purses, 2 wallets, crab head (cancer pagurus), Yucca leaves, stone, laurel branch, mixed shrubs, cardboard cut-outs, gloves, globe-shaped rubber stress-ball, paper napkin from Greek restaurant, ceramic house miniature, dry yam, silica gel bag, napkin, 10 cents.
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Bernhard Holaschke, "always deliver (ceo)", ink drawing and collages print on paper, 32x22 cm (artist frame 45x34cm), 2021
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Bernhard Holaschke, always deliver (nvd), ink drawing and collages print on paper, 32x22 cm (artist frame 45x34cm), 2021
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Karin Kytokangas, "Dysfunctional aesthetics", 2021, dimension needs to measure, pencil drawing on digital print, wood and reflective tape
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Tommy Smits
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Bernie Autsema, portret inspired by Giacometti, bronze,2021
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Daniele Formica, "culture workers get ready for the harvest" , 2021, dimension need to measure, china ink and oil crayons on paper
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Rinella Alfonso
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Installation view
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Installation view
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Installation view
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Bernie Autsema, portret Jiřï Kylián, bronze, 2017
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Karin Kytokangas, I really like denim, 2021, dimension needs to be measured, patched denim fabric on wood and stealwire
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Installation view

“Case Study: The Corporate Stoner” is a research-based project which explores the spectrum of artistic autonomy. I invited along artists whose working methods are distinct from each other, with the intent to let the works cross-pollinate meanings and points of views, diving in a web of multi-faceted narratives which question human condition. “The human element” present in this group show is multi-linear, deconstructed, and ghostlike. Irony, melancholia, ecstasy, banality and vulnerability come together in a disillusioned “recreational office area”. By entering in a multi-disciplinary environment, the selected works give shape to an alternative and fluid type of reading art, inviting the visitors to follow their own narrative when experiencing the show.

The phrase “Corporate Stoner” refers to a company employee who secretly uses cannabis. This employee, even if defying the rules of the company, keeps a professional look and maintains productivity. I would like to look at artists of our times from the same perspective while looking at the larger art-world as one big company. If using cannabis can be seen as a labor-related escapism, fiction and critique can be seen as coping mechanisms for a speculative and precarious art market.

From a parodic standpoint, “The Corporate Stoner” is, metaphorically, an artist who challenges the status quo, but deals “professionally” with bureaucracy or capitalist structures. How does an artist reach autonomy today? Are we sacrificing financial stability in return of artistic freedom and/or the other way around?