Grand Opening: March 23, 8PM  
Opening Hours: Friday – Saturday, 10AM – 10PM
Curators: Marina Paulenka, Thomas Schäfer

The exhibition Cultural Fabric — Rereading the Relationship Between Fashion and Art Practices brings together specific works by nine international artists: Cibelle Cavalli Bastos, Anna Franceschini, Jojo Gronostay, Carlota Guerrero, Irene Ha, Šejla Kamerić, Mous Lamrabat, Zohra Opoku and Julie Poly. Collectively rejecting the outdated notion that fashion is somehow art’s other, the works presented in this exhibition reflect on the richly interwoven threads of experience, methodology and symbolism that are shared and exchanged between these two systems. Bringing together a dynamic constellation of image and material perspectives, from the personal to the political, the societal to the subversive, Cultural Fabric traces both the commonalities between fashion and art, while also acknowledging the points at which they diverge, ultimately asking what role different digital and popular cultures play in the production, dissemination and consumption of images today.

In the works of Šejla Kamerić, Cibelle Cavalli Bastos and Jojo Gronostay, the interrogation and repurposing of second-hand clothes and their journeys to landfill are strategies employed to tell material stories of environment, colonialism and gender transition. Working to subvert the hierarchical and economically-driven models of the traditional fashion producer and consumer, meanwhile, Irene Ha’s site-specific installation comprises a playful collection of objects, garments and pieces made both by her, and in collaboration with a playful cast of characters from neighbours to factory workers. Elsewhere, Mous Lamrabat draws from his Moroccan-Belgian roots to question ideas of nationality and belonging in the face of Western brand capitalism, and Zohra Opoku expresses the fragility of intergenerational relationships through screen-printing and alternative photo processing onto a variety of natural fabrics. Continuing with the theme of heritage and belonging, Julie Poly uses photography to interpret the cultural and visual codes of typical Ukrainian everyday life, presenting two parallel visions of reality in the country today–the military and the civilian–while Anna Franceschini’s works take inspiration from the oeuvre of fellow Italian architect, photographer and artist Carlo Mollino, offering up a portrait of a wardrobe with a fetishistic gaze, somehow creating an erotic film without bodies. Finally, Carlota Guerrero’s installation presents part of a music video she shot at the White Cube Gallery in London, in turn collapsing the boundaries between artistic and commercial space, and offering a new feminist symbology through the aesthetics of the sculptural body.