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Darsa Comfort

Exhibition Detail
Darsa Comfort
Talacker 41
8001 Zürich Zurich
Zurich
Switzerland


September 27th, 2010 - October 23rd, 2010
Opening: 
October 1st, 2010 1:00 PM - 8:00 PM
 
Event-slideshow-placeholder-7598836db0df8fd38455e9b6cb02802f
> ARTISTS
> QUICK FACTS
WEBSITE:  
http://darsacomfort.ch/
COUNTRY:  
Switzerland
EMAIL:  
www.darsacomfort.chinfo@darsacomfort.ch
OPEN HOURS:  
Do, Fr 18 -21 uhr, Sa 14-16 Uhr. Or by appointment
TAGS:  
photography, mixed-media, digital, installation, performance, conceptual, sculpture
COST:  
free
> DESCRIPTION

*1) * September 27th - 20 Uhr
Performance Helga Wretman

*2) *Oktober 1th - 19 Uhr
Eröffnung der
Ausstellung

with artist:

Nicolas Ceccaldi und Dan Rees
Patrick Tuttofuoco
Timur Si-Qin
Anne de Vries
Aids-3D (Daniel Keller & Nik Kosmas)
Aude Pariset
Seychelle Obsidian D. Allah

understanding of the world is shaped by the
interactions of commodities
which weave a collective and globalized imaginary. The human brain is
encased within a
biological environment, but also within a cultural one.
Currently, the cultural sphere of our postindustrial world is
dominated by
the logic of capital, triumphing on flexibility and the ability to adapt and
consent to new situations. In
Neuroscience the malleability of the brain is
called neuroplasticity. Specifically it refers to the faculty of the
brain
to change as a result of one’s experience.
Philosopher Catherine Malabou proposes to associate the word
“plasticity”
with “plastique”, a material made of nitroglycerine and nitrocellulose also
known as “plastic explosive”
and writes: “The word plasticity thus unfolds
its meaning between sculptural molding and deflagration, which is to say

explosion. From this perspective, to talk about the plasticity of the brain
means to see in it not only the creator and
receiver of form but also an
agency of disobedience to every constituted form, a refusal to submit to a
model.” The
difference between flexibility and plasticity lies in the fact
that the last one is not endlessly stretchable but
allows resistance.

‘État de Choses’ focuses especially on artifacts and products of the
postindustrial information
age. These objects gain a brief state of
alienation—frozen for exhibition—a very common, yet useful effect to reveal

different qualities and meaning beyond immediate functionality. One could
think this exhibition is questioning these
objects by their plasticity as
well, challenging their current state by seizing the brain to make
association.


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