Solo exhibition by Iouri Podladtchikov, curated by Louise des Places.

Vernissage: Thursday, July 4th, 2024, 6-10 pm
Date: July 4-18th, 2024. Opening hours: Wednesday – Saturday, 1-6 pm

“Keine Neuheit, keine Befreiung, nur Wahnsinn ohne Verzeihung” (“Nothing new, no liberation, only wickedness without forgiveness”) ominously declares a framed note at the entrance of Iouri Podladtchikov’s solo exhibition, Schluss. This mysterious and vaguely threatening message sets a foreboding tone for the exhibition; but contrasts with the colorful abstract photographs dispersed around the room. Collectively, these elements offer a profound reflection on the essence of separation, the aftermath of endings, and the lingering shadows they cast.

The title of the exhibition, “Schluss,” is inspired by the evocative composition of the same name by Fanny Mendelssohn. Translated as “Enough,” “End,” or even “Stop,” it poignantly echoes the German componist’s struggle for recognition in her time, overshadowed by her brother’s fame. Iouri Podladtchikov’s art, shaped by constant changes and a continual search for belonging, resonates with the themes of Mendelssohn’s composition, reflecting on the cessation of connections and the finality of broken relationships.

The display features a collection of polaroid photographs, “Uncouplings”, taken from Podladtchikov’s prolonged series “Recent Paintings”, each a vivid exploration of multicolored lines and forms inviting viewers to delve into their own interpretations. Just as a figurative painting may resemble something familiar yet remain enigmatic, abstract art prompts us to reconsider our preconceptions and embrace diverse interpretations. In the words of artist Sam Gilliam, “It messes with you. It convinces you that what you think isn’t all. It challenges you to understand something that is different.”

The Polaroid’s timeless quality and perennial nature stand as a counterpoint to the rapid, ever-changing digital age. In a world driven by technological advancement and where para social connections are formed behind our screens, they are an attempt at reaching the impossible: permanence.

Each image serves as a frozen fragment of time, preserving not just the visual scene, but also the feelings and sensations that accompanied it. Intertwining the ephemeral and the enduring, they offer a physical embodiment of the intangible realm of memory. Much like dipping a madeleine in tea can trigger a flood of recollections, opening an old box of photographs, or stumbling upon one tucked between the pages of a long-forgotten book, has the power to unleash a torrent of emotions. Thus, Polaroid photographs become a modern day Madeleine de Proust, invoking the same profound sense of nostalgia and introspection.

Born in 1988, Iouri Podladtchikov has cultivated a rich academic background, spanning from Art History studies at the University of Zurich to a BFA at the University of the Arts Zurich, with additional training at the International Center of Photography in New York City. Currently finishing an MA in Philosophy, Art, and Critical Thought at the European Graduate School, his work is featured in the prestigious collection of the New York City Public Library. He has exhibited widely across Zurich, Basel, Portland, and New York City, showcasing his evolving artistic vision and exploration of themes through various mediums.

Louise des Places