18 may 2017 – 17 jun 2017
Something suddenly smashes the window and the glass is poured out on the ground, forming small reflective mirror fragments. On the floor there are four or five bonsai with eyes, which in chorus repeat continuously: “what have you done! Why did you do this, I do not understand, please tell me why … “. Bonsai images are reflected in broken glass poured on the floor, showing a beating heart, the rhythm of a heartbeat more Resonates a sense of guilt, and the blanket of sadness fades only near the small video installation in the corner.
This is a playlist of deaths, in each of which follows a small requiem, time for a last, private, greetings.
The work of Catherine Biocca is characterized by a widespread and often unusual use of media. In his animation, involving the viewer in physical space, we see figures seemingly cheerful and harmless grapple in enterprises the most atrocious, staging the most violent and hidden fantasies, generated by a condition of deep frustration. Biocca is interested in the dark side and masochist of the ordinary, which fuses formally with the aesthetics of a reassuring and paradisiacal beauty. In other words, the artist depicts the time when brutality and innocence meet and co-exist, creating what the Germans call Schadenfreude, which is a kind of pleasure derived from the misfortune of others, a malevolent smugness, which causes it to laugh and enjoy the pain of others.
Although work by Biocca is one stage in the sparsely attended, the age-old debate absurd historical-artistic resumes out of form and content, often using direct references to scenes of Greek and Roman mythology, in order to demonstrate how art can generate an enjoyable and deeply aesthetic, while portraying the most brutal events.
Catherine Biocca (born 1984) lives and works in Berlin. She graduated from Kunstakademie of Düsseldorf in 2013 and played a postgraduate program in residence at the Rijksakademie van beeldende kunsten in Amsterdam in 2015. Recent and upcoming solo exhibitions including: fruit, Rome, IT; PSM Gallery, Berlin, DE; Kunstverein Nurnberg, BE, PIK, Köln, DE, curated by Carla Donauer (2017); Jeanine Hofand, Amsterdam, NL; Le Foyer, Zurich, CH; PSM Gallery, Berlin, DE (2016); Open Studios Rijksakademie, Amsterdam, NL, 019, Ghent, BE, edited by Thomas J Caron; Silberkuppe, Berlin, DE (2015); Kunstakademie Düsseldorf, DE (2013); Museum Kunstraum Neuss, Neuss, DE (2010). Recent group exhibitions: GAK Bremen, DE curated by Janneke de Vries (2017); 3rd Animation Biennial Shenzhen, Shenzhen, CN, curated by Li Zhenhua; Greengrassi, London, UK; Kunstverein Pfaffenhofen, DE, edited by Benedikt Hipp; Fruit, Rome, IT (all 2016); Komplot, Brussels, BE, IGST, a project by Sara van Woerden; Jeanine Hofand, Amsterdam, NL; New Media Festival, Miami, US; Ginko Art Space, Beijing, CN; Galerie Tatjana Pieters, Ghent, BE; Martin van Zomeren, Amsterdam, NL (2015); Atelier im Walzwerk, Dusseldorf, DE (2010); Italian Pavilion, Biennale project at St. Gall Church, Venice, EN (2005). Curatorial projects include: Jolly Joker, project space in collaboration with Benedikt Hipp and Lisa Reitmeier, Amsterdam, NL (2016). Awards: in 2017 won the Hans Purrmann Förderpreis; in the Projectsubsidies 2016, Amsterdams Fonds voor de Kunst and Beweezen Talent Bijdrag, Mondriaan Fonds; in 2015 the Strabag Art Award.
Via dei Salumi, 53