« What we are concerned with now are the implications – in particular, the complex of ideas and events represented by World War III. Not the political and military possibility, but the inner identity of such a notion. For us, perhaps, World War III is now little more than a sinister pop art display, but for your husband it has become an expression of the failure of his psyche to accept the fact of its own consciousness, and of his revolt against the present continuum of time and space. Dr Austin may disagree, but it seems to me that his intention is to start World War III, though not, of course, in the usual sense of the term. The blitzkriegs will be fought out on the spinal battlefields, in terms of the postures we assume, of our traumas mimetized in the angle of a wall or balcony.’ »

J. G. Ballard, The Atrocity Exhibition, 1990.

FAIR PLAY

That the objects surround us in our everyday life Rarely Attract our attention. They usually disappear behind Their function. And-even Those That require our interaction was daily basis, for us, They exist only in a remote far. What lays behind the Lack of focus is our year yet impressive network of Ideological, conceptual and technological implications. In a constant process of Optimising our life we have, Often violently and at the cost of our natural environment, fuelled a general process of consolidation. If we look at the objects define our personal environment That we Identify a set of technological objects, aim more Fundamentally, a subservience of the real to the implications of pure functions on and industrial production. In a way, the biggest civilisation revolution of the last Decades is at hand.

What do we see? We see hands, fingers, in fact, body parts lacking Their vibrant seal flexibility. We see Supporting structures That substitute form the bone structure. Vertebral limbs, trans-humanist inversion, qui HAS already Preceded us and pretend to look after-us. The reality of a patient is the reality of a hospital Where the requirement of the body is already saturated with technology.DESPITE All That goal, it is still the Body That Suffers and the Body That sets the tone.

The works of Vanessa Safavi in her first solo exhibition at the Barbara Seiler did not fail to remind me of this little, squeaky white sign.

The materials That inhabit the medical environment, Intended as means clustering to providing good care, are the ones That are MOST of the synthetic kind. Here, Where We silently hope to find is some level of comfort, we Actually find the only thing que la postmodern Human Being is still able OF PRODUCING: “Here, we are not alone There are others, Those nearby And yet.. , there is no place Where we are aussi alone. ” 
An absolute neutrality, from qui No. compassionate look nor fraternal embracement Emerges, perfectly nice, perfectly mastered, qui goal in just nothing happens anymore. We need to get out,-even at the risk of loosing care, looking for an unexpected encounter, an accident, Get Involved into a major political event or simply run out of the Most Essential to rescue us, and if it is only for a brief time to escape this thick fog of relativism and comfort.

What evokes Vanessa Safavi is a mere joy. Aim it unfolds around a historical and personal context, which imposed upon us in full existential and ontological commotion.

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‘My humanity, Our Verticality’, 2016. Goosneck, paint, polystyrene mold injection, each hand: 35 x 10 x 34 cm.
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‘My humanity, Our Verticality’, 2016. Goosneck, paint, polystyrene mold injection, each hand: 35 x 10 x 34 cm.
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Installation view
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Installation view
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Installation View
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‘So Many Banana Skins in the Pathway (Holding Substitute I)’, 2016. Metal, paint, PVC, silicone, fabric, 98 x 13 x 6 cm.
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‘So Many Banana Skins in the Pathway (Holding Substitute I)’, 2016. Metal, paint, PVC, silicone, fabric, 98 x 13 x 6 cm.
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‘So Many Banana Skins in the Pathway (Holding Substitute II)’, 2016. Metal, paint, PVC, silicone, fabric, 98 x 13 x 6 cm.
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‘So Many Banana Skins in the Pathway (Holding Substitute II)’, 2016. Metal, paint, PVC, silicone, fabric, 98 x 13 x 6 cm.
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‘So Many Banana Skins in the Pathway (Holding Substitute III)’, 2016. Metal, paint, PVC, silicone, fabric, 98 x 13 x 6 cm.
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‘So Many Banana Skins in the Pathway (Holding Substitute III)’, 2016. Metal, paint, PVC, silicone, fabric, 98 x 13 x 6 cm.
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‘So Many Banana Skins in the Pathway (Holding Substitute III)’, 2016. Metal, paint, PVC, silicone, fabric, dimension variable.
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‘Blind Date’, 2016. Metal, paint, 108 x 18 x 58 cm.
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Installation view
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Installation view
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‘Untitled’, 2016. Plexiglas, 18 x 18 x 5 cm.
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‘Loop, Feedback & Karma’, 2016. Metal, paint, polystyrene mold injection, 97 x 190 x 58 cm.