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REMEMBER THE FEELING OF RIDING THE WIND?
Apollinaria Broche
March 19 — April 18, 2021
Triumph Gallery
Triumph Gallery
The main theme in Apollinaria Broche’s work is the search for a safe space, where by building a personal geography and heterotopy Apollinaria works with clay, wood and mosaics, she creates installations that blur the lines between the real and the imagined.
The main theme in Apollinaria Broche’s work is the search for a safe space, where by building a personal geography and heterotopy Apollinaria works with clay, wood and mosaics, she creates installations that blur the lines between the real and the imagined. Her works rely on establishing links between myths, psychological interrelations and anthropology. Apollinaria’s installations combine familiar, shared cultural codes and deeply personal memories.
The installation exhibition Remember the Feeling of Riding The Wind? mimics the space of a garage used as storage for memories and different artifacts that could be found in a cabinet de curiosités. Conceptually, it is placed somewhere in between a garage, a personal archive, a Renaissance studio — all locations sacred in their own right. A place where memories acquire a physical form. Drawing parallels between archivation of these objects in different spaces and archivation of her own feelings, Broche turns to the practices of Louise Bourgeois and makes a series of sculptures and installations related, in one way or another, to psychoanalysis.
The installation exhibition Remember the Feeling of Riding The Wind? mimics the space of a garage used as storage for memories and different artifacts that could be found in a cabinet de curiosités. Conceptually, it is placed somewhere in between a garage, a personal archive, a Renaissance studio — all locations sacred in their own right. A place where memories acquire a physical form. Drawing parallels between archivation of these objects in different spaces and archivation of her own feelings, Broche turns to the practices of Louise Bourgeois and makes a series of sculptures and installations related, in one way or another, to psychoanalysis.
The main theme in Apollinaria Broche’s work is the search for a safe space, where by building a personal geography and heterotopy Apollinaria works with clay, wood and mosaics, she creates installations that blur the lines between the real and the imagined. Her works rely on establishing links between myths, psychological interrelations and anthropology. Apollinaria’s installations combine familiar, shared cultural codes and deeply personal memories.
The installation exhibition Remember the Feeling of Riding The Wind? mimics the space of a garage used as storage for memories and different artifacts that could be found in a cabinet de curiosités. Conceptually, it is placed somewhere in between a garage, a personal archive, a Renaissance studio — all locations sacred in their own right. A place where memories acquire a physical form. Drawing parallels between archivation of these objects in different spaces and archivation of her own feelings, Broche turns to the practices of Louise Bourgeois and makes a series of sculptures and installations related, in one way or another, to psychoanalysis.
The installation exhibition Remember the Feeling of Riding The Wind? mimics the space of a garage used as storage for memories and different artifacts that could be found in a cabinet de curiosités. Conceptually, it is placed somewhere in between a garage, a personal archive, a Renaissance studio — all locations sacred in their own right. A place where memories acquire a physical form. Drawing parallels between archivation of these objects in different spaces and archivation of her own feelings, Broche turns to the practices of Louise Bourgeois and makes a series of sculptures and installations related, in one way or another, to psychoanalysis.
The three rocking motorcycles Pegasus, Sleipnir and Thestral is a metaphor for freedom, the nomadic lifestyle of bikers and, at the same time, a metaphor for childhood memories. Hung on a rail, the Pierrot dress, a hoodie, women’s underwear and masks imitate the different layers of the subconscious and different images. The final room is a reference to the chapel of Santa Maria di Momentana, where Piero della Francesca was commissioned to paint a fresco, Madonna del Parto. The dimmed lighting, the subdued music, the ashtray with a smoking cigarette, and a mosaic with Madonna’s eyes invite the viewer to spend some time one on one with their own thoughts.
The three rocking motorcycles Pegasus, Sleipnir and Thestral is a metaphor for freedom, the nomadic lifestyle of bikers and, at the same time, a metaphor for childhood memories. Hung on a rail, the Pierrot dress, a hoodie, women’s underwear and masks imitate the different layers of the subconscious and different images. The final room is a reference to the chapel of Santa Maria di Momentana, where Piero della Francesca was commissioned to paint a fresco, Madonna del Parto. The dimmed lighting, the subdued music, the ashtray with a smoking cigarette, and a mosaic with Madonna’s eyes invite the viewer to spend some time one on one with their own thoughts.
The exhibition was supported by the premium ride hailing service Ultima Yandex Go. In the modern world, the value of time is increasing so rapidly that each moment acquires a special meaning. Ultima Yandex Go eliminates the unnecessary worries and constraints to make our time more useful and meaningful—with more opportunities for art, play, socialization, friends and family.
Сurator: Sofia Kovaleva, Sofia Simakova
Сurator: Sofia Kovaleva, Sofia Simakova
The exhibition was supported by the premium ride hailing service Ultima Yandex Go. In the modern world, the value of time is increasing so rapidly that each moment acquires a special meaning. Ultima Yandex Go eliminates the unnecessary worries and constraints to make our time more useful and meaningful—with more opportunities for art, play, socialization, friends and family.
Сurator: Sofia Kovaleva, Sofia Simakova
Сurator: Sofia Kovaleva, Sofia Simakova
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