Nine columns are installed throughout the space. Vertical monoliths composed of enamelled ceramic tiles, they provoke awkwardness as a result of being depositaries of evolving, organic painterly processes and at the same time maintaining a totemic Minimalist-coded fixture, like John McCracken\u2019s polished towers resurfaced after erosion. But maybe they\u2019re closer to Anne Truitt\u2019s boxes, considering how their formal rigidity and phallic verticality paradoxically generate the most organic appearance.<\/p>\n
S\u00e9verine Heizmann Pozza\u2019s practice draws on various interconnected systems: permaculture, ecology and divination. These shape dynamic structures made up of their own logics of transmission, as many complex sites which are thought of as nodes of overlapping interdependent zones, articulated by a site-responsive painting. The unpredictability and openness of ceramics, whose outcome is only revealed through the thermochemical process of the kiln\u2014painting in the dark\u2014 answers those dynamic ecosystems by stating its own elsewhere, an autonomous site of fluxes and exchanges. Firmly closed when the firings take place, the kiln itself looks like a reactor of some sort, enclosing the radiation which effects the material: the surfaces are at times oxidated, due to the effect of a corrosive reaction, or show stronger material transformations through vitrification. Their colours further insist on the narrative of contamination: the luxurious fading palette of guppy blues, muddy browns, deep chartreuse and troubled aquamarine greens contrast with acidic oranges and red\u2019s radiance due to the cadmium\u2019s toxicity. The colors seem to owe their tint to outside processes. Consider the reduction leading to a metallic black, seemingly illuminated from inside, as if it owed its depth to some arcane power. Just as Riga Black Balsam isn\u2019t Picon, it could happen that one black looks like another but doesn\u2019t taste the same.<\/p>\n
These displacements give them a feeling of exteriority reinforced at Kim?, appearing both as individuals and as a group, strangely repeating the space\u2019s own pilasters, the structures seem withdrawn, cut off from the world. A separation which is further pushed by the organicity and outwardness of the works, which detach them from modernist sculpture. Consider how they reflect on each other when they\u2019re close. They radiate outwards, absorb and redistribute. Their togetherness and seclusion are akin to the immanence of a rave, where, at the same time, nothing exists outside, and the end is inescapable. Set within this fleeting feeling of furtiveness,\u00a0Settling at Dawn<\/i>\u00a0works as a time of grounding and resurrection. A germinal emergence, or as the first thing one sees after having come through the night.<\/p>\n
I\u2019ve been mostly talking about interdependence to understand how this \u201cpainting in an expanded field\u201d manoeuvres a new consideration about the site, its complexity and heterogeneity. If an ecological consideration can be useful here, it is for the articulation of present thinking about the interdependence of events and processes in light of external disturbances: the sites we inhabit seem more and more unstable, from increasing shaky geological foundations to the return of full-fledged wars to geographies believed to be fixed. Against an isolating perspective, the various systems the artist calls upon lead to a consideration of the site in its multiplicity, as expanded nodes linked by multiple interdependent processes. By setting up a practice rooted in this contemporary thought, S\u00e9verine Heizmann Pozza elaborates a painterly agency which looks at accumulating thought and matter into a series of transformations and mutations, a hybridisation of the medium through contagion of knowledge. The exhibition\u2019s spatiality itself becomes a site of meaning: consider the conjunctions of the structures throughout the space, mapping out a seemingly informative chart, like astral signs, and divination as a tool to reconfigure the given site.<\/p>\n
Anne Truitt: \u201cHave a feeling of having seen it all\u2014all phenomena of whatever kind, a feeling of being exhausted with living\u2014a fleeting impression of the ephemeral nature of actuality\u2014as if the actual had ceased to interest me, and the virtual had silently usurped its place in my thought.\u201d<\/p>\n
<\/p>\n
S\u00e9verine Heizmann Pozza<\/b>\u00a0(b. 1994) is a visual artist and musician based in Geneva. She received her BA in Fine Arts from the HEAD Geneva School of Art and Design in 2018. Her work has recently been shown at personal exhibitions at Milieu, Bern (2024), and Kirchgasse, Steckborn (2021), and at group exhibitions, for instance at Forde, Geneva (2019).<\/p>\n
<\/p>\n
S\u00e9verine Heizmann Pozza\u2019s acknowledgements: Paolo Baggi and collaboration partners.<\/p>\n
<\/p>\n
Supported by:\u00a0<\/b>Ministry of Culture of the Republic of Latvia, State Culture Capital Foundation, Riga City Council, Pro Helvetia, Republic and Canton of Geneva, City of Lancy, Embassy of Switzerland in Latvia, Fondation Engelberts,\u00a0Kokmui\u017ea, Media Port<\/i><\/p>\n
<\/p>\n
Kim? Contemporary Art Centre and exhibition team:
\n<\/b>Executive Director: Evita Goze
\nProgram Director: Zane Onckule
\nProject Manager: Katr\u012bna Jau\u0123iete
\nCommunications Manager: Kristi\u0101na B\u0113rza
\nSales Director: D\u0101rta Purvl\u012bce
\nMediators: Betija Briede, Linda \u0160terna, Em\u012blija Austra Lodi\u0146a, Alise Sedleniece
\nTechnical team: Aldis Bu\u0161s, Andris Mara\u010dkovskis, J\u0101nis Noviks
\nDesign: Anna Ceipe
\nEnglish translation: Valts Mi\u0137elsons
\nLatvian proofreading: Ilze Jansone
\nEnglish proofreading: Will Mawhood<\/p>\n","protected":false},"featured_media":233,"template":"","meta":{"_acf_changed":false},"class_list":["post-256","exhibition","type-exhibition","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/kim.wrong.lv\/en\/wp-json\/wp\/v2\/exhibition\/256","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kim.wrong.lv\/en\/wp-json\/wp\/v2\/exhibition"}],"about":[{"href":"https:\/\/kim.wrong.lv\/en\/wp-json\/wp\/v2\/types\/exhibition"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kim.wrong.lv\/en\/wp-json\/wp\/v2\/media\/233"}],"wp:attachment":[{"href":"https:\/\/kim.wrong.lv\/en\/wp-json\/wp\/v2\/media?parent=256"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}