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Nicolas Ceccaldi, Apocryphal Masquerade, 2014, deer skull, ribbon, red wine, 12 3/8 × 4 × 6 3/4".

Nicolas Ceccaldi

Kunstverein München

Nicolas Ceccaldi, Apocryphal Masquerade, 2014, deer skull, ribbon, red wine, 12 3/8 × 4 × 6 3/4".

“Red Wine,” the title of Nicolas Ceccaldi’s first solo show in a public institution, was apparently intended as a catchall reference to intoxicating substances, to pleasurable means of withdrawal from reality. Then again, the poster accompanying the exhibition included an image of someone holding out a red pill, somewhat incongruously recalling a famous scene from the 1999 movie The Matrix: By taking it, the film’s protagonist, Neo, chose to be confronted with the dystopian, machine-dominated real world. The poster’s design was clearly based on DIS magazine’s stock-imagery initiative DISimages, while a kunstverein-produced booklet introducing the exhibition aped the French publishing house Les Éditions de Minuit. Ultimately, these references bypassed one another, resulting in so much white noise. In being both framed and permeated by an aggregate of cultural references and

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