GROUP EXHIBITION

LIMINAL CROSSING is an unparalleled exhibition that encompass historical, acclaimed and emerging artists whose artworks unfold micro-explorations of materials and elements that compose our natural, cultural, social and digital worlds in transition. From the subtle, deep and critical attention paid to the rustles of life that are often neglected in exclusive binary systems of thoughts and dominant power structures, these artists engage in daring representations of shapes, colours and textures that offers reinvented perceptions of the living and creating open forms of languages.

Something is considered liminal when it stands at the limit of our perceptions. Our senses aren't fully capable of perceiving it and yet, if we pay close attention to micro contact zones between the living and artificial components, the liminal would emerge, reflecting something more profound shining through life as an on-going process of creation. At the crossroads of cultural iconographies and collective memories, vernacular practices and virtual realities, science and art history, the artists of LIMINAL CROSSING nurture transformative and creative practices, unveiling powerful shifts towards a more subtle and complex inter-relations between living beings, artefacts and technologies.

The ways we can engage with the changes from deep perception of the living and nurture constructive relations with each other are becoming precious and vital. In a society obsessed with fast industrial/technological/digital development, economical growth, mass consumerism, and rapid innovations, speed is the common word used to qualify spectacular change in a short lapse of time. In the arts, the futurist movement in the early XXth century, but also today with the frenetic (mis)uses of 'digital technologies', the assimilation of change with speed often reflects an ideological utopia in order to achieve perfection of shapes, sounds, images, spaces, species and ecosystems.

What if we look at movement and change from a totally different perspective than speed, productivity and perfection, and that it is visible in the liminal contact zones between particles, light, air, surfaces, shapes, colours, solid objects and... people?In (astro)physics, instead of speed, scientists use the word velocity to describe more complex equations between the time/movement/displacement of a particle, sound, light, an object or an image with regards to different parameters such as direction, magnitude, gravity, time, mass or momentum, resistance, friction... In physics and fluid dynamics, drag is referred to as fluid resistance, as a force acting opposite to the relative motion of any object, moving with respect to a surrounding fluid. In marine science, the photic also called the epipelagic zone, is the uppermost layer of a body of water that receives the sunlight, allowing phytoplankton to perform photosynthesis in the production of more than 70% of oxygen on earth. The bottom-most, or aphotic zone named the abyssalpelagic (below 1000m), is supposedly the region of darkness which includes most of the ocean waters. In fact, the aphotic zone is not as dark as we imagined: in the abyss, unknown living species were discovered and studied-on for the purpose of developing different spectrum of shapes, colours and lights. Unfortunately, on behalf of 'green energies', the exploitation and the destruction of the aphotic zone had expanded across different oceans with the extraction of minerals to fortify our electronics, A.I. and VR technology.

Tapping into a 'micro and macro sources of energy', LIMINAL CROSSING conveys a profound imprint on contemporary art, driving social and cultural criticality, sensorial and emotional experiences. While societies are obsessed with simplistic dichotomies such as new vs old, tradition vs innovation, vernacular vs digital, north vs south, universe vs multiverse, how artists can touch on the off-field of images and develop artistic gestures that nurture transversal representations between human and non-human components, can they be a part of the natural, cultural, technological or imaginary worlds?

LIMINAL CROSSING offers three main field experiences: