Double Cast

Szilvia Bolla, Christophe Gilland, Emir Šehanović, Veronika Svecova Curated by Agáta Hošnová & Karolína Voleská 26. 6. 2024 – 29. 6. 2024 Facebook event

Imagine a mirror that is neither flat nor convex—reflecting not just what’s in the space in front of it, but marking a place through which we can fall, a gap to the other side. Elsewhere— where? The Cheshire Cat with its artificial fur shimmers in a world where, as in a mirror image, we are unsure whether we are watching illusory glimpses of parallel realities or material objects. We descend into this abyss: shining hair falling from the ornamental gilded window and intertwining with slimy emerald moss. These real strands of hair weave themselves into long braids with the synthetic ones. The alien medicine dissolves on the tongue and travels through the body. A new state arrives.

Wet dreams on a dry planet.

Once ingested, we are led into a state of uncontrollable rearrangement of our inner matter. Instruments take over the living substance and a supernatural process of interaction begins. The decomposition of oil or natural gas into simpler chemicals creates a substance suitable for completing the process of imitation by polymerizing—joining matter into long invisible chains. The quartz is gradually processed into a form of silicone—a mineral memory carrier—from which an identical cast can easily be made. By creating a double, we can experience several parallel versions of the future in a single moment. The prosthesis becomes the main part, the tool the subject. The alien thing in our stomachs transforms us into naturally inhuman creatures, the smooth surfaces of the objects mirror our new form.

Dreamy yet detailed hallucinations.

Communication in this state through optical fibres, in the form of light. Chalcogen glasses are the medium. Chaining the processing of materials into synthetic layers, akin to unlocking new levels from which there is no return to those previous. By mimicking the physical and organic, we try to adapt to emerging production cycles. Our bodies contain substrates of microplastics that transform us along with the internal structures of the biosystem. The processed outputs of its raw materials permeate the organic world and interfere with its circulation. The inanimate comes alive again and breathes in symbiosis with its own source, and information is transferred between the body and technology. Breathing in and out in the immaterial state. Fiction is like a vessel for rediscovering the possibilities of human experience and knowledge beyond any linear narrative of progress. The environment of the Double Cast exhibition leads us into a labyrinth of further possibilities for the continuation of this fictional imitation.