Installation view at SALTS, Photo credit: Gunnar Meier Photography

Memory Mattress IV (Your Words are Only Half Your Own) (2018) Steel, lacquer, foam 20 × 180 × 90cm, Photo credit: Gunnar Meier Photography

detail of: Memory Mattress IV (Your Words are Only Half Your Own) (2018) Steel, lacquer, foam 20 × 180 × 90cm, Photo credit: Gunnar Meier Photography

Memory Mattress III (2014) Wrought Iron, foam 110 × 52 × 11cm (and work by Zoë Paul in foreground Zoë Paul, Watery Grave (2018) Marble, glazed ceramics, brass, lava, water, fountain pumps). Photo credit: Gunnar Meier Photography

Memory Mattress IV (Your Words are Only Half Your Own) (2018) and Memory Mattress I (2014) and Memory Mattress II (2014) Photo credit: Gunnar Meier Photography

Detail of: Memory Mattress II (2014), Wrought Iron, foam 60 × 52 × 10cm, Photo credit: Gunnar Meier Photography

Memory Mattress III (2014) Wrought Iron, foam 110 × 52 × 11cm, Photo credit: Gunnar Meier Photography

Infinity has its Limits at

SALTS,

Hauptstrasse 12, CH–4127 Birsfelden

Kasia Fudakowski, Maria Loboda, Zoë Paul Curated by Samuel Leuenberger & Elise Lammer

24 March – 19 May 2018

Infinity has its Limits brings together works by Kasia Fudakowski, Maria Loboda and Zoë Paul. All share an interest in re-working elements of traditional sculpture, design and architecture through processes of historical excavation. What are our social norms and how do we navigate them? The exhibition investigates a certain cultural landscape, where historical signifiers are superimposed with contemporary commentaries.

Experience and the memory we create thereof become the catalysts to construct, archive and suggest environments to which our human body (and mind) can relate. We see foam bodies encased in a metal cage, a fractured, figure-like fountain or a stucco corridor filled with health supplements, all of which build a long historical line. From living like a cave-woman, to the ancient Greeks all the way through the Western medieval epoch and jumping to the industrial revolution.

The artists’ attentiveness to traditional crafts mobilises contemporary anachronisms around human labour, understanding craft practices as authentic experiences borne of intimate contact between hand and material. It remains a form of production which bears traces of its makers, as Kasia Fudakowski’s work highlights: indexing labour, geography, memory and language. Craft may also recuperate organic elements and question our dematerialised present—as in Zoë Paul’s work, or rehash history through contemporary fabulations—as in the work of Maria Loboda.