Cecilia Bjartmar Hylta and Sarah Rosengarten at diez

This twin exhibition of Cecilia Bjartmar Hylta and Sarah Rosengarten showcases the compelling formal affinities of two in any other case disparate our bodies of labor. Housed in a former courtroom, the gallery contains the dais initially utilized by the decide and jury, which Bjartmar Hylta has raised by practically three toes for her set up Untitled (all works 2023). The newly elevated stage makes viewers extra conscious of the empty area underneath their toes, whereas the encircling wall lamps and door handles really feel confusingly low. Throughout the new floor of the platform, the artist put in bollards the other way up, in order that they turn out to be holes within the stage ground, revealing their cavernous and infrequently seen insides.

Bjartmar Hylta’s panorama of inverted bollards units up a poetic dialogue with Rosengarten’s {photograph} Pigeon Holes. Put in on the white partitions of the gallery, the work is a part of a sequence of images taken on the MIM Mineral Museum in Beirut. Consciously avoiding any recognizable figures, Rosengarten merely exhibits the lights mirrored on show circumstances and minerals in a way that resembles constellations. The artist intentionally hung the pictures erratically towards the partitions, suggesting a sure sort of failure that in flip evokes unmet expectations from museum documentation images. The photographs are neither representational, formal, or illustrative; as a substitute, they subtly disorient, echoing the unsettling feeling of strolling on Bjartmar Hylta’s set up.

— Piero Bisello