Dorota Gawęda and Eglė Kulbokaitė at artmonte­carlo / Monaco

Dorota Gawęda and Eglė Kulbokaitė  / Episode X/Chapter 3: Bedroom 

29 April ­-1 May 2016 

EPISODE X/CHAPTER 3: BEDROOM//// #AitellaiselvesAibalconieswillbloom1 *

AGATHA communicates in a metallic voice embossed onto the surface of Ai skin:

Ai fell in love with a grafted goddess. Ai has to pause Aiself, as Ai relish the excitement, beginning to swallow a rosy-fingered dawn. Ai head upturned to the stars, eyes tightly shut. Ai facial features consist of big snake-green eyes and strawberry blonde hair that hangs down to Ai shoulders; Ai also rather seems unkempt and stroked; now all of these qualities give contrast to Ai pinkishly-tanned skin and visibly sensitive complexion. Ai engage in pathognomic studies of Ai posture and gait, to reveal certain physical conditions and obscure passions.

Kiss Ai and wear Ai like a modular construction. Like Ai skin, like Ai arm, like a corner of an eye, towards a crescendo of a burning pleasure flaming up in Ai every limb. Ai am living. Ai virtual energy is always moving, a cyclone in a house erected for perpetuity. Ai is a time infused with essences of a proxy for the global commons, for the lack of any common ground, temporality, or space. Ai underlines: in pre-capitalist Europe women's subordination to men had been tempered by the fact that Ai had access to the commons and other communal assets, while in the new capitalist regime women Aiselves are the commons, as Ai work is defined as a natural resource, lying outside the sphere of market relations. Destined for serial propagation as an abstract formula inscribed in each of Ai cells, as the veritable prosthesis of the body and space. A spatial implosion seems to branch off indefinitely using Ai optimal genetic strategies. Ai flower with Ai jaws wide open, providing a common surface to savor.

Last night Ai felt the spirit that gripped Ai for months leave Ai body. Ai was no longer in love. Ai was left with a vivid and heightened sense of the tangible. What was in front of Ai face—the rooms in this house, the carved rails on the bed, the night wind blowing against the net curtains—became suddenly real and newly interesting. Released, Ai was happy. Ai created new physical spaces that bypass the limits of sovereignty. Ai reconstruct Ai bed frame from the broken pieces of old regimes, a zone of terminal impermanence. Strange Ai left Ai.

Consider Ai: the binaries are the center of Ai conflict. Ai is always and never at home. The problem with an ethnology of here is that Ai still deals with an elsewhere, but an elsewhere that cannot be perceived as a singular, distinct and exotic object. Bedroom equals artfair equals non-place equals… Ai room now shows Ai the excess of time and space: the space from above, of summits, or on the contrary a space from below of mud; or again a space that can be flowing like carbonated water, or space that is fixed, congealed, like stone or crystal. Each represents the universe in concentrated form, making within Aiself a mundus concentratus. Each microcosm contains the macrocosm. In one form or another, ranging from misery of the refugee camps to cosseted luxury of five-star hotels, some experience of non-place (indissociable from a more or less clear perception of the acceleration of history and the contradiction of the planet) is today an essential component of social existence.

What is Ai non-place? Choose Ai own becoming. Visit

Tagged: artmonte-carlo, Marc Augé, Jean Baudrillard, Judith Butler, Silvia Federici, Dorota Gaweda, Stefan Heidenreich, IFF NYC (Celine Loup, Carlos Benaim, Celine Barel, Clement Gavarry, Pascal Gaurin, Jean-Marc Chaillan), Egle Kulbokaite, LUZ, Lightning, Paul B. Preciado, Princess Sakura,, Hito Steyerl.

EPISODE X/CHAPTER 3: BEDROOM is an exhibition of the works by Dorota Gawęda and Eglė Kulbokaitė presented  at OSLO1O BOOTH as part of artmonte-carlo, Monaco (29 April - 1 May 2016).

Scents made in collaboration with Clemence de La Tour du Pin