EXO EXO


Bad Juju
Madison Bycroft, Mathis Collins, Mikołaj Sobczak

curated by Exo Exo, Paris
June 7 - June 14, 2018
New Galerie, Paris

press release


Bad Juju, 2018
Exhibition view, New Galerie, Paris

Bad Juju, 2018
Exhibition view, New Galerie, Paris

Mikołaj Sobczak, The Bricklayer, 2018
Oil on canvas

Mathis Collins, Les Pieds Devant (Droite), 2018
Leather, cotton, plastic, paint, glycero paint

Bad Juju, 2018
Exhibition view, New Galerie, Paris

Mathis Collins, Les Pieds Devant (Gauche), 2018
Leather, cotton, plastic, paint, glycero paint

Madison Bycroft, Ext: Negative Politics, 2018
Souffleur, stool, two way intercom, enamel, plaster, porcelain, iron stand, chenille microfibre

Bad Juju, 2018
Exhibition view, New Galerie, Paris

Mathis Collins, Corbillard, 2018
Metal, plastic, ceramic, cloth, leather, acrylic

Bad Juju, 2018
Exhibition view, New Galerie, Paris

Madison Bycroft, Composed body 7, 2017
Chalk on paper

Madison Bycroft, Human Resources, 2017
Single channel digital video, colour, sound

Bad Juju, 2018
Exhibition view, New Galerie, Paris

Madison Bycroft, Composed body 9, 2017
Chalk on paper

Madison Bycroft, Composed body 3, 2017
Chalk on paper

Madison Bycroft, Composed body 4, 2017
Chalk on paper

Madison Bycroft, Composed body 6, 2017
Chalk on paper

Madison Bycroft, Composed body 1, 2017
Chalk on paper

Madison Bycroft, Composed body 5, 2017
Chalk on paper

Madison Bycroft, Composed body 2, 2017
Chalk on paper

Bad Juju, 2018
Exhibition view, New Galerie, Paris

Madison Bycroft, And another herald, 2018
Fiberglass, chenille microfobre, enamel, trimming, trolly

Bad Juju, 2018
Exhibition view, New Galerie, Paris

Mikołaj Sobczak, The Cursed Soldiers (Sex), 2018
Watercolor on paper

Mikołaj Sobczak, The Cursed Soldiers (Kiss), 2018
Watercolor on paper

Mikołaj Sobczak, The Born of Drawing, 2018
Watercolor on paper

Mikołaj Sobczak, The Sentence, 2018
Watercolor on paper

Bad Juju, 2018
Exhibition view, New Galerie, Paris

Mikołaj Sobczak, STAR, 2017
Digital video


"Juju’s” roots lie somewhere between ritual and witchcraft. The term used by Europeans to refer to traditional West African religious practices is actually an expression from white settlers which loosely and indifferently denotes a range of cultural practices. While "Juju" refers more specifically to objects and amulets, by cause and effect it also hints at African voodoo in general. "Juju" is a talisman, a totem. It is about the belief in an energy, a magic surrounding us, and through its appropriation in popular culture - a vibe - be it good or bad.

However, energy cannot be evaluated separately, it is first of all a connection, an exchange of flows, a context, a moment. For energy to be bad, one first has to consider it, feel it, experience it. For this exhibition, creation is considered by means of the collective experience, the artist as a poetic and political figure. In the same vein as in classical mythology - extraordinary creatures, vampires, seabed monsters, clowns - Mathis Collins, Madison Bycroft and Mikołaj Sobczak confront the modern mythologies of social spaces, community territories, workplaces. The cafes of the Parisian avant-gardes of the 19th century, the historical and political struggles of the queer movement in Poland or the office of the human resources for molluscs are more or less beneficial incarnations for social exchange.

What takes precedence here is the political and empathic body, as an actor, as a performer, as a stage director, as an anthropomorphic and modern creature and a new transgender species. Bad Juju tells the story of the failure of authoritarianism with regards to the capacity of humanly mutation, our ability to adapt, to evolve, to translate from one language to another, to produce collectively. Administrative impotence faces an "invertebrate" body, transvestite, liberated, that think of itself in a new economy of exchanges.

ER