{"id":29255,"date":"2023-02-27T15:16:52","date_gmt":"2023-02-27T06:16:52","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=29255"},"modified":"2023-02-27T15:17:52","modified_gmt":"2023-02-27T06:17:52","slug":"mourning-opulence","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/29255","title":{"rendered":"Mourning Opulence"},"content":{"rendered":"

2023.2.17 – 3. 17
\nJeremy<\/p>\n

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Jeremy, Mourning Opulence, Installation View, February 17 \u2013 March 17, 2023, Peres Projects, Berlin, Photographed by: Jerzy Goliszewski, Courtesy Peres Projects<\/figcaption><\/figure>\n

Peres Projects is pleased to present Mourning Opulence<\/em>, Jeremy\u2019s (b. 1996 in Geneva, CH) debut solo exhibition with the gallery in Berlin.<\/p>\n

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Jeremy, Landscape (le buisson ardent)<\/em>, 2023, Painting – Acrylic on canvas, 120 x 160 cm<\/figcaption><\/figure>\n

Extravagance, fantasy, lust and sensitivity are the cardinal points of Jeremy\u2019s practice. Soaked in pink and enhanced with deliberately overelaborate vases, Mourning Opulence <\/em>takes us on a journey off the beaten track of heteronormativity, whose invisible yet omnipresent veil is subverted by a queer gloss. Drawing from both mythology and video games, the artist envisions his practice as world-building. Each painting opens the door to a new territory with its own protagonists, adventures, rules and language. Large-format works alternate with smaller canvases, which punctuate the show like commas allowing for moments of pause. Pieced together they form a fragmented narrative, and map an opulent universe of various references, motifs and colors, surrounded by a camp aura.<\/p>\n

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Jeremy, The beast<\/em>, 2023, Painting – Acrylic on canvas, 150 x 200 cm<\/figcaption><\/figure>\n

Gender identity is central to Jeremy\u2019s practice, in which both the masculine body and its modes of representation become a field of thorough investigation. Inspired by the Chimera, a mythical hybrid creature, Jeremy explores the limits of anatomy through a collection of shapeshifters who populate the exhibition space and struggle to adapt to sometimes hostile environments. Resisting categorization by giving shape to fluidity, he renders amorphous, swollen figures in metamorphosis, which both defy societal expectations and distort the canons of art history.<\/p>\n

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Jeremy, The Companion (2\/2 The gathering)<\/em>, 2023 Painting – Acrylic on canvas, 200 x 170 cm<\/figcaption><\/figure>\n

Liberating and provocative, Jeremy\u2019s body of work discloses desire and fantasies. Sexless but sexual, his epicene mutants display their muscular bodies and voluptuous curves on the walls of the gallery. Never frontal, the eroticism that permeates the exhibition relies on suggestive motifs, such as tumescent veins or lascivious curls. A sense of subverted innocence pervades the works, which finds its epitome in the swirls of hair that unfold across canvases. Drawing from both the manga of the 1980s and the history of drapery in painting and sculpture, hair becomes the allusive motif par excellence, the hint that draws attention to what it pretends to conceal.<\/p>\n

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Jeremy, Vessel<\/em> (A)<\/em>, 2023, Sculpture – Mixed media, plastic, paper, gesso, acrylic paint, varnish, 92 x 83 x 44 cm<\/figcaption><\/figure>\n

Jeremy unfurls erotic and tender painted lines which convey an emotionally ambiguous charge that cannot leave anyone indifferent. Each painting follows unexpected roads, expressing the artist\u2019s insatiable curiosity and thirst for experimentation. Drawing from a repertoire of heterogenous references including Ovid, Georges Bataille, Italian Baroque, Captain Harlock and German Expressionism, Jeremy cultivates an intrepid aesthetic that is unafraid of frictions, clashes or incongruous juxtapositions. In Notes on Camp <\/em>(1964), an influential reference for the artist, echoed in many respects by his practice, Susan Sontag writes: \u201cCamp taste turns its back on the good-bad axis of ordinary aesthetic judgment. […] What it does is to offer for art (and life) a different \u2013 a supplementary \u2013 set of standards.\u201d<\/p>\n

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Jeremy, Unison<\/em>, 2023, Painting – Acrylic on canvas, 120 x 160 cm<\/figcaption><\/figure>\n

Drawing on sincerity and generosity, and fueled by irrepressible emotions, Jeremy\u2019s standards are demanding but rewarding for those who join the dance. Despite its deathly allusions, Mourning Opulence <\/em>is far from a danse macabre<\/em>. More often than not, Jeremy\u2019s paintings evoke memento vivi<\/em>, which convey an undaunted and necessary call to reclaim one\u2019s right to exist and take up space, fully and unapologetically. No matter if it\u2019s slightly too much, no matter if it\u2019s sometimes imperfect, as long as it\u2019s flamboyant.<\/p>\n

This is Jeremy\u2019s first solo exhibition with Peres Projects. Jeremy graduated from the Haute E\u0301cole d\u2019Arts et de Design (HEAD), Geneva, in 2021. That same year, he had his debut solo exhibition Art is Lifer <\/em>at Wallstreet, Fribourg. Jeremy has participated in a number of recent group exhibitions including La main-pleur<\/em>, curated by Nicolas Brulhart and Sacha Rappo, Kunsthalle Friart Fribourg, Switzerland, September Issues<\/em>, curated by Mohamed Almusibli, Peres Projects, Milan, CHEMICAL X<\/em>, Cherish, Geneva, A moment of being<\/em>, Bollag Atelier, Basel, and LEMANIANA \u2013 Reflections on other scenes<\/em>, Centre d\u2019Art Contemporain Gene\u0300ve, Geneva.<\/p>\n

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Jeremy, Mourning Opulence, Installation View, February 17 \u2013 March 17, 2023, Peres Projects, Berlin, Photographed by: Jerzy Goliszewski, Courtesy Peres Projects<\/figcaption><\/figure>\n

Peres Projects
\nKarl-Marx-Allee 82, Berlin, Germany
\n+49 30 275 950770<\/p>\n

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