Eleonora Meier
Martina Mächler
Paolo Chiasera

27.05.2017, 7pm ☄️

Interhemispheric refers to the region of the brain located in between the two hemispheres, the “room” which separates the two halves of the brain. That gap functions as a space of conjunction and separation at the same time, its spatial identity is given by the areas it brings together, or breaks apart, conferring to it a certain degree of autonomy. Starting from this definition, it is easy to understand the fluid, multiple character that the concept of space can embody, freeing it from a physically defined dimensionality.

Klara Kiss Zip Space displays an exhibition unfolding art spaces and their rules and established conventions, presenting alternative and critical perspectives on the contemporary role of art spaces and their infinite possibilities- of compression or expansion.

“The heterotopia is capable of juxtaposing in a single real place several spaces, several sites that are in themselves incompatible.”
– Michel Foucault 

We could talk of art as heterotopia, a either real or mental space which operates as “other place” in the social realm, and which works according to own rules of behavior and of inclusion. That physical and inter-psychic space which constitute the dual nature of art, on one side appears as manifestation and occupation of a physical space, on the other as the mental and cognitive space it comes to hold in the engaged subjects, makes of art an heterotopic space.

“Secondo Stile (Wedding)” operates in the liminal area between physicality and abstraction, between expansion and reduction of the concept of space. It embodies the infinite array of possibilities art and art spaces can perform, and opens up the perception of paintings, rooms and exhibitions simultaneously.

Like an introspective journey into the mental space of creation, “Sherbet equivalent of a Love Song” brings attention on the connections and interrelations between inner and outer space, amplifying the subtle yet consistent duality of the place of art.

“Financial Performance 10/2013- 04/2017” unravels the fluidity of art and of its places, and grounds it in the sphere of pragmatism. Disclosing art from the perspective of financial datas and performances, it re-approaches the heterotopia of art with the antagonistic language of the deceptive heterotopic place of Economics.