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01/07 ∙ 20:00-16/07 ∙ 20:00 ∙ Gallery Nova

Grand Opening ∙ 2022-07-01 20:00:00

Curator ∙ Barbara Gregov, Lovro Japundžić, Lea Vene

Tender Points

Tender Points

Following the theme of the 12th edition of the Organ Vida festival, the exhibition “Tender Points” explores new affective perspectives in contemporary visual art. The works of four artists – Julie Faverau, Katarzya Perlak, Margaret Haines and Fette Sans – discuss uncertainty and insecurity, or rather affective disorientation as an essential feature of modernity, and critically look at different models of emotional togetherness, as well as opportunities to maintain and (re)construct intimacy.

In her work artist Julie Favreau reflects on how new forms of intimacy can be created intuitively, sensually and based on embodied knowledge. The photographs show objects and bodies that are interconnected by miniature sculptures, the so-called connectors. Resembling small stains, gems, or balls of polished plastic, connectors are physical manifestations of relationships and function as a type of organ, prosthetic devices, or advanced communication devices that transcend language and telepathically mediate intimacy. Julie Faverau’s work is a tangible speculation about relationships, where technology is seamlessly integrated into our intimacy.

In the video and installation “Broken Hearts Hotel”, the artist Katarzyna Perlak explores the possibilities of achieving closeness due to spatial and temporal dislocation and frequent mediation of closeness to (digital) media. The work is set in a hotel room where the artist reads fragments of love letters. The hotel room is both a space of intimacy and a transit place that belongs to nobody, while a love letter represents a physical memory of a loved one, but also a reminder of their absence. Starting from the breakup of a romantic relationship, the artist plays with the idea of queer romantic relationships as a kind of utopian projects and explores how a “love hotel” can function as a temporary utopian place – a space for personal regeneration, (re)invention of intimacy and healing of broken hearts.

Escapism as a prominent feature of contemporary society is also an important theme in Margaret Haines’ work. Adopting the title of Theodor W. Adorno’s cult essay, “The Stars Down To Earth” functions as a somatic complement to Adorno’s patronising critique of astrology. It is both a sci-fi thriller, a documentary, and an idealistic prophecy; an attempt to establish a parallel between the two affectively complementary, but temporally and spatially distant contexts – contemporary Los Angeles and ancient Greece. Through non-linear methods of narration and abrasive sound and visual stimuli, the artist seeks to simulate the prevailing feeling of anxiety and draw the spectator into a surreal world inhabited by astrologers and reincarnations of ancient deities and prophets.

In the performance and installation “The bitter ends of (the technologies of tenderness)” artist Fette Sans embodies a perfectly helpful virtual assistant who is ready to wait for the viewer to activate her. She is a figure not expected to speak, but the viewer will most likely be asked how they are doing, invited to approach her or asked to touch her – experience her as something real. Inverting the classical logic of the performance, the artist puts the viewer in a state of “emotional dislocation”: asks of them to embrace the conspicuous fragmentation of the virtual persona — to communicate with it, to complement it, to feel it — or to surrender to the speculative potential of the virtual domain.

Additional events:

► 01/07, 20:30 h Performance by Fette Sans: The bitter ends of (the technologies of tenderness)
► 07/07, 18–20h Performance by Fette Sans: The bitter ends of (the technologies of tenderness)
► 09/07, 12–13h Artist talk with Fette Sans


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