“Fried Patterns” includes more than 60 contributions by 19 artists. The works were selected for their personality and the stories that are part of them. Stories about art in general and the conditions of artistic labor in particular, this relates to the fact that most of the invited artists work in Brussels and none of them have gallery representation. Ideally, the exhibition clicks repeatedly like the shutter of a camera, which opens long enough to let light enter to create an image. Like this, “Fried Patterns” attempts to put the finger on something that is essentially ungraspable. At any rate, an exhibition can neversatisfyingly be a picture of a given time or map a particular place.
However, “Fried Patterns” suggests associations between artists that experience life in Brussels today, perhaps Europe’s most international small-town. From deep-fried photographs to fake university diplomas, the exhibition brings together an eclectic amount of art by a wide array of artists. Some of them are still pursuing their education, while others would never settle to abandon theirs. “Fried Patterns” reflects on how mundane experiences affect the way images are both consumed and produced. First and foremost, the artists investigate the image of the self as a source of social interaction: In which light does one show and see themselves? How is intimacy cultivated? And where do we act out the fetishization of images and anecdotes? How is the artist’s identity constructed and who gets to validate it?
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