Same Door Different Street / Evita Vasiļjeva, Antoine Nessi
curated by Merilin Talumaa, Maija Rudovska, Justė Kostikovaitė
28 August -25 October, 2020
This exhibition is part of Roots to Routes - Full programme consisting of exhibitions, artists talks, screenings, performances and site-specific walks in Marseille please check https://rubimoss.com/projects/
93 Rue de la République,
Photography by Philippe Munda
When the sun melts down, a blue light on the Rue de la République turns on. Shifting lights and Mediterranean hues change the face of the city. There are seven reasons why you should make time for the sunsets*. There are seven times more reasons for artists to move to, tourists to visit, families to leave, new shops to open, and for refugees to come to Marseille. One of the most visible examples of this transforming city is Rue de la République. Each door on the street is made alike to blend with one another. Everything is aligned with an idea "to slow down time" - one of the seven reasons why you should make time for the sunsets.
For the duo exhibition Same door different street Latvian artist Evita Vasiļjeva and Marseille-based French artist Antoine Nessi have created works that reflect on the ambience and the language of the city. Inspired by the urban imagery of Marseille, Evita and Antoine employ elements from the city’s streets and its architecture, transforming them into containers, which act as molds to cast new pieces. Both artists often use casting as a method of producing their work. The familiar unfolds into something new, hybrid, reminding us that the known and the unknown live next to and within one another.
Evita has chosen to work with Marseille’s lights and its soap industry. Her sculptures resemble street lamps or new planets and inside them one can find little flies, resembling precious ambers that are likewise found with flies inside them on the Baltic coast. Flies have been collected by Evita in Riga, Latvia and transported to Marseille. The seducing and magnetic sunsets of Marseille were the point of departure for her work.
While economical and political flows in Marseille shift, bollards remain the guardians of the town, blocking cars from driving or parking in pedestrian areas. Still, we walk by these objects countless times and never pay attention to them. Antoine calls them ghosts of the streets. He has selected the most common patterns to work with and turned them into strange creatures or characters. Usually without faces and voices, the bollards now become active narrators, reviving the memories and history of this urban space.