These work are maniacally impartial, excitedly stagnant, electrical beige, realistically faux—Band-Support-colored moments of faux laughter, smiles fraught with a number of intentions, oxymorons, hypocrisy. They replicate the best way we are supposed to behave, keep it up, proceed in a world that would simply, if considered too deeply, drive us all to madness. Making an attempt to maintain it collectively, to behave transgressively regular, exceedingly acceptable, outrageously okay—these are the impossibilities required of us whereas we’re consistently instructed “something is feasible,” the place we are supposed to settle for, keep constructive and assist establishments repeatedly letting us down. We’re unable to flee, and so we should select the palliative route, the Band-Support. We should smile into the digicam whereas our fingerprints are being taken, whereas having fun with the intimate privateness of our borrowed houses. We should enjoy our detachment from the whole lot, and the posh of wanting away in privateness (which we persuade ourselves we’ve got). Every thing we do is just a little deal with, just a little freedom inside a system we’re by no means free inside. These work intend to not painting the underlying chaos and injustice that pervades our existence, however somewhat the great and regular moments, tense as they might be, that sit on the floor—the Band-Support atop the unspeakable wound of our collective physique.

—Chloe Sensible

at Almine Rech, Brussels
till Could 25, 2024