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Exhibition
The Twilight Zone
From 
Thursday October 11th 2007
until 
Sunday October 14th 2007
Opening: 11 October 2007, 08:00 - 10:30 P.M.
Location: 
Showroom MAMA
With contributions by: 
Aram Tanis (NL), Nick Ervinck (BE), Jan van Nuenen (NL), Jasmina Fekovic (NL), Gert-Jan Akerboom (NL)
Curated by: 
Nous Faes
The famous sci-fi series of the 50s, including the cult sequels, lend its title to the curated booth presentation that MAMA brings you at Year07 Artfair.
There's a specific twist in the works of the artists on show, a curiosity for the darker points in life or what lies beyond, that acts as the lead. Heroism and gloom seem to make out two sides of the same coin here.

The heroic status of Jeff Buckley is very understandable when we see his performances full of oppressive intensity or hear friends and colleagues mourn his early death ten years ago. Buckleys' talent is captured in the award winning and until now forbidden documentary 'Goodbye and Hello' (2000) by Jasmina Fekovic (1976). Fekovic calls herself 'documentarista' to indicate her involvement with her subjects while exploring the boundaries between art and documentary. 'Goddess... whatever happened to love' (2004) and 'Dadelpalm', commissioned by MAMA in 2005, are examples of these explorations. In her work she mixes a clear sense of spirituality with paradoxical present day sociological footage thus making way to a kind of existentialism as if imploring the existence of something bigger then humanity.

Gert-Jan Akerboom (1978) is best known for his large-scale drawings and installations. In his work traditional Christian allegorical imagery about transcendence, death myths and transformation are mixed up in a convoluted language that takes in the world of subculture Gothic and street art. Being raised in strict religious surroundings his work vibrates the smell of death, punishment and conspiracy and when moving from Rotterdam to Berlin in 2006 the mystical and ritualistic clearly take the lead in his work. A new series of fine ink drawings selected from his small scale sketchbooks show immense concrete dwellings, host to 'eternal' symbols (fire, water, mirrors) acting as both maze and natural habitat for the undead.

Jan van Nuenen (1978) meticulously composed animations show his fascination with destruction and creativity, more specifically with Man's dealings with technology and with Mother Nature itself. The results are intense and imaginative structures that slowly yet inevitably get out of control. Van Nuenen arranges his works as if he was writing a song, using loops, the rhythm of visual frames and sound bites in an associative way, at the same time neutral and poetic or even emotional. The dark visions that remain of Lame Yard (2003) and of the Warning Petroleum Pipeline (2004) can only haunt us at night.

[b[Aram Tanis'[/b] (1978) work is bare, whatever object he puts in front of his camera. All of his images show or at least suggest a sense of un-belonging, dislocation and environmental alienation. His latest work, a series made in a slaughterhouse of horses early 2007, has all the grandeur and the stillness that death surrounds. Earlier series have the same quality, like Deconstruction (2006) showing overweight torsos next to blocks of flats in a 70s suburb, or the vast urban Korean environment depicted in the series Ji Hyung Song (2004).

Nick Ervinck (1981) explores various mediums in an attempt to fragment the mental image and to question the use and the perception of constructive elements like material, proportions, space, color, texture and volume. In his work virtual constructions and hand-made sculptures interact, showing and materializing unforeseen possibilities. These sculptural forms of painted plaster and polyester act as the counterpart of the polymorphic, synthetic forms that are brought to life as mutated molecules by artistic computer simulation.
 
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