SER SERPAS

This sense of evanescence is embedded in the painting process itself; Serpas transfers images by placing two canvases on top of each other while the paint is still wet. This creates an imprint that cap-tures the moment of contact between the two materials. The result is a series of double images that resemble prints, traces, memories, or remnants. Each pressed surface captures not only what was but also what is lost or transformed. Through this serial gesture, distortions, shadows, and shifts emerge, as the process of repetition introduces differences and alterations to the image.

Two rooms, the first and the last of the exhibition, present Serpas’ paintings. In these spaces, the unframed works are affixed directly to wooden panels, their surfaces bearing the imprint of transfer and time. Arriving at the final room, the echo of the first returns with uncanny familiarity. The near-symmetry unsettles, like stepping into a dream that loops back on itself: Have I been in this room already

The exhibition is a space of expression—at times frozen in paint, at others repeated through the body. Embedded within, performances unfold. In three rooms and the entrance hall, Serpas reimagines during Art Basel week four historical stagings from the Margo Korableva Performance Theatre in Tbilisi. Performed in slow, looping sequences, these actions, such as hitting a ball, spinning a spoon, and kissing goodbye, are stripped of narrative and intention. What remains are gestures: isolated, familiar, and almost intimate.

Performance and painting here are not separate disciplines but two modalities of imprinting and vanishing. Serpas draws them together into a porous whole, where images emerge through contact and gestures detach from resolution. What unfolds is muddied terrain where the boundaries between movement and mark, representation and disappearance, merge.

Neither narrative nor sensation remains—what endures are the bodies and acts remembered and repeated, the memory of something barely held and fleeting.