A dialogue on the whole

The last show at The Mews Project Space has marked a particular moment in the space sill brief but prolific history. It is an epitome for a phase that has started two years ago by two artists and an art dealer. The exhibition, which was curate by Aldo Rinaldi and FIlipa Oliviera, as an affective sensorial event, marks a transition from an experimental dive into a new phase in the project that, maybe, would start to become interesting to see to be confronted with a more institutional approach.

Anyhow, more than a dialogue between Yonamine’s (1975, Angola) Dipoló and Charlotte Moth’s (1978, UK) Untitled slide projection, this is an exhibition about Whole, and having the whole completely full. Yonamine’s everyday imagery, from popular consumer goods from Angolan and African mythologies juxtaposing Western narrative, printed onto newspaper pages looks like it is a virus infecting the space; transforming a white box into a communication devise. While Moth’s enquire into “the physical context from which [objects] emerge, and are presented within”, accumulates in one single bright spot all the blackness surrounding it. But more importantly, is when I saw The Agony of Water, by William Cobbing (1974, UK). The video projection just transformed the exhibition concept brought by the works on the two first rooms. In this case, a woman takes out and put in clay around her naked body. Her form, in constant mutation, re-submerges through the life in her.

That is why this exhibition projects’ The Mews Project Space into a new paradigm at the contemporary art scene from London. Going from being a noisy generator powered space (in an alley behind the Whitechapel Art Gallery) in to becoming a space with its own distinctive heard voice. Without being overwritten by some sound caused by a generator feed by fuel fossil. The Gradiva Project serves as a testimony for a systemic recreation of new forms through the act. It incorporates, or, instead, opens a new addendum to the whole project, just make it to have more sense. The new ‘Common Room’ has helped to close the first intrinsic extension, developed by the two founding artists since 2009; it brings a new individual condition in to the whole through its completeness. As if a new beginning-continuation is emerging from now on.