Saturday, November 24th saw the opening of a new exhibition at DiXmiX Gallery, curated by Dixmix Source. Osmosis De Un Sueño: The Return sees Kimeu Korg return for the second part of an exhibition first witnessed in June 2018 (read here for more), moving to the White Gallery at DiXmiX this time around.
Kimeu is perhaps Second Life’s most rooted in surrealism in the presentation of his work, which can easily equal the likes of Max Ernst and René Magritte. Sometimes blending in-world images with elements from the physical world, for this part of Osmosis De Un Sueño, he presents pieces firmly produced in-world, several of which include his sense of whimsy, others of which present a more pointed expression.
This part of the exhibition offers a baker’s dozen of images to b appreciated. I don’t usually ascribe an order in which to view an exhibition unless the artist has indicated one, but with Osmosis De Un Sueño: The Return, I would recommend starting a visit by taking the steps closest to the gallery’s main entrance up to the mezzanine level White Gallery.
Doing so will take you past Look and Retrato Equestre (Equestrian Portrait) into the core of Kimeu’s exhibition, allowing the full richest of his surrealist approach come to the fore, peppered in places with his sense of humour – and his ability to question norms, as with the subtle Prisoner, beautifully layered in potential meaning as it is, despite Kimeu’s disarming claim about his work.
Given the preponderance of skeletons in the pieces, one might think there is a little touch of post-Halloween in the exhibit, but to me these are in some way a lead up to what I consider to be the last piece in the exhibition – or at least, the one I would recommend coming to last of all, sitting above the entrance to the gallery’s events venue, The Atom.
Entitled Blind Obedience, it is a sobering piece, one which in the toxic political environment prevalent in parts of the world today, perhaps bears a special meaning and / or warning. Such is the imagery used, it sits well apart from the rest as it makes an extraordinarily strong statement, one given added impact by viewing it last of all (and the reason I’m not reproducing it here – it should be seen first-hand).
Another remarkable exhibition by one of Second Life’s most remarkable artists, and one that should not be missed as it remains open through until at least late December 2018.
- DiXmiX Galley (Bay Port, rated: Moderate)