“In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it.”
Suarez Miranda,Viajes de varones prudentes, Libro IV,Cap. XLV, Lerida, 1658. From Jorge Luis Borges, Collected Fictions, Translated by Andrew Hurley, Penguin 1999.
MOTINTERNATIONAL BRUSSELS is pleased to announce a duo exhibition by Philomene Pirecki and Aukje Koks. The works in Interiors explore the value and signification of the real as well as their appearance and their relation to the world of ideas.
Koks and Pirecki share similar methods - mise en abyme, illusion, and trompe l’oeil – to create confusion in the narrative convention. What we see is not what we expect; the art works always find a way to escape the shadows of their appearance. Interiors could be about objecthood involved in a cycle in which the art work is infinitely the residue and the echo of itself.
Philomene Pirecki observes the time presiding over art production and creates visual recordings of its variations. Fixing is a slide show of 80 pictures, which describes different states of being of a white wall throughout the course of a day. Reflecting is what the artist calls a 4th generation photograph, which holds primarily, the image of a Pirecki art work in the studio. The picture becomes an artistic object that is photographed by the artist again and again in a permanently re-emergent process of the form: a generation fades away giving rise to a new one. Aukje Koks approaches painting as an illusory territory with undefined borders. With I don't have your background but if I did, maybe I would see it differently, she depicts the story of two art works in an ironic questioning of their aspect as paintings by way of their titles, while in Diving into surface, the definition between tangibility and illusion ceases to exist. These paintings participate in the construction of a simulacrum as an occidental phenomenon by pretending that an appearance is reality itself.
Philomene Pirecki and Aukje Koks actively evoke in their practices the disappearance of the original subject, which gives way to an inner reality. The studio embodies this notion of interiorness, which the artists use as the interpretative lens of the exterior world. This approach brings us to consider the autonomous life of the presented objects, which communicate together through repetitions and superimpositions of forms, thoughts and symbols.