Nevereux: an artistic Journey into Communication

MetaLES: Journey into Communication

Now open at MetaLES, curated by Ux Hax and Romy Nayar, is Journey into Communication, an installation by Nevereux. Mixing 2D art, words and 3D settings, it presents a quirky but thought-provoking journey into the ways in which we communicate which all contains a degree of social commentary and some insight into the artist herself.

Nevereux introduces the installation in a completely self-effacing manner, “So here you’ll find everything you need (aside from few artistic skills) so to waste your most precious 77 minutes. Due to a fortunate series of coincidences, you’ll find a brand new iPhoneZ and a handsome pencil on the ground. Sure I’ve also got lots of decent pictures, but they’re all just kinda boring. Keep yourself awaken by sniffing the paint(ings) on the walls.”

MetaLES: Journey into Communication

This drastically undersells the installation, reached via teleport from the MetaLES landing point. The art is ranging in a circle around a slightly undulating snowy landscape. Pictures hang from the sky, and are mounted within small sets related to their subject matter (those on signals from space, immersion, and similar, are presented within the shells of what might be a space station, for example).

At first, the installation can be confusing – however there is logic to it. A raised stage sits in the south-east corner, with a door marked Enter beneath it. This is the starting-point, and visitors should progress from here in a clockwise direction around the display areas. The first of these poses the question about how we look at the world: through the limits of the screen – be it television, computer, ‘phone and so on – or through the richness of knowledge and imagination presented by books. After this, we are warned – again in a self-effacing comment: This is where it all gets a bit surreal.

MetaLES: Journey into Communication

Surreal things might be in places; but so to are they rich in depth and meaning – pointed to by way of the labels each has. “The images you see here are concepts,” Nevereux states. And they very much are – and more. They are reflections and thought on life, how we relate to one another, to the world around us, our condition – even on the way life has been reduced to a matter of consumerism. In many these ideas are clearly offered, either directly or through the support of accompanying text; in others, they are more obscure, encouraging one to take time considering them.

This is a provocative exhibition in that it demands thought and consideration when visiting. There is even, as noted, a small section offering insight into Neverex herself – and it is beautifully presented: through the words of a poem. Bitter-sweet, poignant and rich in imagery, this alone make a visit worth while.

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