There and Back Again - Wall Gallery

It wasn’t supposed to be like that at all. On 4 May, a Wall Gallery exhibition was supposed to open in downtown Barcelona. It was supposed to feature 15 artists represented by the Wall Gallery. It was supposed to be an exhibition about the end of the world. It was supposed to be titled: “Tomorrow will show”.

The eponymous tomorrow took us all by surprise. Like many of you, we have found ourselves back at square one, but in a completely different reality.

Sometimes it’s not easy to come to terms with the fact that things don’t always go our way, or we encounter problems which make achieving our goals difficult. Sometimes it turns out that not everything is possible, or for some things, it’s already too late. When we find ourselves in that spot, we often reach back to memories embedded in our minds, we escape into fantasy worlds, or we start thinking ahead, navigating all these states, going #thereandbackagain.

Małgorzata Gurowska, „Neuropeptide F”, 2016-2019 –– pencil, crayon, wine, paper napkins, glassware.

Fruit flies appear in a house when the fermentation process begins somewhere. They are attracted to fruit, leftover wine, or vinegar. Drosophila melanogaster males perform a complicated mating dance: their wings flutter, antennae and legs reach for the bodies of their intended partners. But not all mating rituals have a successful outcome, and males disappointed by their failure with the opposite sex look for consolation in a larger than regular dose of alcohol. Often these desperate attempts to lift their mood end up by the fruit fly dying in a glass that was too deep. The work was created as part of the Zoepolis. Design for Weeds and Pests project for the Nośna Foundation in Cracow. During the opening, human gallery guests helped themselves to wine. To guarantee the safety of broken-hearted fruit flies, their allotment of alcohol was served in a safe dish.

a. Orienting
b. Tapping
c. Singing
d. Following
e. Licking
f. Attempting
g. Copulation
h. Rejecting
i. Escaping

Kaisu Almonkari, „POLISH MONUMENT”, 2016

POLISH MONUMENT is a piece expressing a position in the debate on sculpture in the urban space. In terms of form it refers to typical Polish architecture and monuments of John Paul II erected in bulk, and in terms of theory it poses the question what can and what should not be placed in the public space. Whether under the current history-based politics such monuments as “the four sleepers” can be removed? Who and on what basis should decide on the appearance of public space?