The exhibition Four Rooms with a View is a group exhibition composed of 4 solo exhibitions. The participating artists, Aron Mehzion, Anastasia Sosunova and Andrea Zucchini, Neringa Vasiliauskaitė, and Johannes Wald, have been invited to exhibit their works each in one of the four existing gallery rooms. Each artist was given carte blanche to curate their own space resulting in four intimate and independent views of what sculpture can be.
Constitutive of Aron Mehzion's works is the use of semi-transparent mirrors. Placed between two mirror-image symmetrical figures, they permit perfect overlayings or interpenetrations of the mirror image of the one and the view of the other through the mirror. The surface of the mirror thus provides a glimpse that both reflects and penetrates. In interplay with the sculptures, the result is that a hand is simultaneously a right and a left hand. Aron Mehzion’s works enable us to catch a glimpse of a four-dimensional world we are inherently unable to set foot in, one that is nonetheless present in the possible spaces that exist in physical and mathematical theory.
Anastasia Sosunova's and Andrea Zucchini’s installation Second Skin, influenced by post-industrial cityscapes and the often debilitating experience of living within an artificial environment, points to the hybrid materiality of the metropolis as a metaphor for contemporary identity: a manufactured self. Utilising the connotations of the artificial limb, the installation invites us to think more broadly about what is lost and what is gained within the implications of today’s late capitalist model for the human body. This collaboration serves as a method of aesthetical and anthropological research, a global approach to personal stories about family, home, displacement and unbelonging.
Neringa Vasiliauskaitė’s works and installations pay special attention to their objects’ surfaces, playing with the way we look at familiar things through different methods of modification. A former student of Nicole Wermers, Neringa Vasiliauskaitė chooses her material according to its ability to carry multiple levels of meaning and often ambiguous narratives, preferably touching on issues that are both personal and political. Her works appear familiar yet otherworldly, traditional yet technologically advanced, inviting reflection on a multitude of human conditions all at once.
Johannes Wald’s work reflects upon the fundamental elements of sculpture, exploring ways of expressing movement, emotion, time, physicality and self-awareness. Applying traditional methods and techniques that have been used by artists for centuries, his works manage to transcend the categories of this classic medium. The individual components of Wald’s works present themselves in a way that leaves room for more than one interpretation, opening up space for the viewer’s perception to complete the piece.