Stockholm

Maya Eizin

Galleri 16

Now that the transparency of Modernism has been replaced by the opacity of post-Modernism, and the world has been described by Jean Baudrillard as “a shattered windshield,” it seems as if the most versatile metaphor for our fractal, un-surveyable condition would be the fold. By being only partly visible, only partially accessible, and thus not totally controllable, the fold allows a retreat from the panopticon of modern society. The fold is not only a locus of secrecy, a refuge for evading an unfolding gaze, but an object of erotic desire. In this exhibition of Maya Eizin’s work, opacity, folds, Baroque and Rococo painting play important roles. Eizin refers to her works as “paintings,” but they are not painted images; rather, they are images of paintings. Eizin photographs reproductions of 17th-century Dutch still lifer and Watteau paintings. Cropped and enlarged, this appropriated imagery

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