In her recent solo-show "I think my cells are fucking behind my back", the in Berlin-based gallery Heidi, Mimosa Echard presents an art that is not just a reflection, but a refracted introspection of the present society's deeply intertwined relationship with technology and desire.
Using a palimpsest of objects ranging from non-player character (NPC) streamers of the digital realm to the very tangible anti-radiation fabric, Echard's expansive canvases do more than just juxtapose our reality — they distort it, enhancing its essence and posing grave inquiries about our place in this ever-digitized realm.
The very cells that construct our corporeal form are now enmeshed within the grand design of algorithmic predilection. The deluge of objects — the remote, the coins, the omnipresent pills — symbolize our inextricable ties to an existence that constantly oscillates between stimulation and desire. Echard, through her sublime and chaotic representations, captures this milieu of voracious yearning. We, as viewers, are left in a liminal space, questioning our very existence — are we just playing out our roles in this grand algorithmic design or is there a realm that lies beyond, teeming with unadulterated desire? Mimosa's inclusion of the Lascaux postcard only deepens this inquiry, intertwining ancient primal instincts with our current digital inclinations. There's a sense of cyclical yearning that permeates her work, suggesting that while mediums may change, human desire remains the bedrock.
Amidst this introspective journey, one cannot help but observe Echard’s deft play with duality: the anti-radiation material speaks to our need to shield ourselves, yet the encrusted pills and blisters intimate at our incessant need to engage and even embrace. There's an underlying dialogue on surplus and mediation — do we consume for consumption's sake, or is there a yearning, an excess that goes beyond mere objecthood? Echard’s tableau refuses to provide clear answers, instead enticing viewers to reflect, rethink, and redefine their desires in an age where the line between the real and virtual is increasingly blurred.
