ON VIEW until 25th April 20205
BLUSH
@clagesgallery
Group show curated by
@fabianflueckiger
I am honored to show among such boss artists and in the context of such an intimate and sensitive matter.
v.l.n.r.
Walter Pfeiffer: Untitled
2018
Courtesy the artist and Galerie Gregor Staiger, Zurich.
@gregorstaiger
Eliza Ballesteros: THE WAY YOU WEAR YOUR SKIN (APCC)
2024
Courtesy the artist and fiebach, minninger Cologne.
@fiebach.minninger
Michaela Schweighofer: Psyché, Psycho, Psychosis
2024
Courtesy the artist.
@miggigram
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Exhibition views Blush, Clages, Cologne, 2025 © Clages, the artists and galleries, photos: Mareike Tocha
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Blushing is a deeply rooted cultural reaction—a psycho-physical response of the self. The skin turns red, as if inflamed, and with heated cheeks, shame and vulnerability become visible. At the same time, unconscious desires come to light, while the pent-up heat longs to leave the body.
This emotion, derived from the Latin word emovere, describes an outward movement—a yearning for release. When overwhelmed by shame, a person instinctively seeks to withdraw from the uncomfortable exposure. This reaction reflects a rupture in the connection to the self, as aspects of one’s identity or self-perception are called into question. This often occurs when they conflict with personal ideals or societal norms.
The exhibition addresses the increasingly emotional societal climate. With works that resemble a symbolic blush, the show tackles controversial cultural and political issues, highlighting the tensions between desire and rejection.
Curated by Fabian Flückiger.
Featuring works by Eliza Ballesteros, Vaginal Davis, Mona Filleul, Tarek Lakhrissi, Walter Pfeiffer, Michaela Schweighofer, Monika Stricker, and Maria VMier.
![THE FREEDOM OF MATERIAL IS ITS DECAY[June‘s Poppy fields], 2025will be part of an upcoming publicationto be published in the beginning of 2026Currently trying to wrap my mind around the fact of the lushness of a connection once found and then the detachment that ultimatly produces decay and the literal worn out feeling that connection seems impossible.](https://sp1.picnob.com/p/pt_6764507167581568623125_0_63949dacda7621dac876e44e2b6bcdfe.jpg?o=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&h=976925cabfbbed004b14fad6594c50c2)
![STERNUM [dark]2024graphite, encre de chine, pencil on blotting paperuniqueframed, museum glass43 x 35 cmInstallation at @10n_gallery Brussels for my solo ORDINATION 2024Photo: Silvia Cappellari Lett#elizaballesteros](https://sp1.picnob.com/p/pt_6716231757436357706716_0_5db69a10234d30269cfa4e4817123642.jpg?o=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&h=da8a13267f0f0b7cb526440441541f57)
![Pier Paolo CalzolariAVIDO, 1968From the exhibition text:“[…]In the Avido object from 1968, we find a covering of salt applied to the inside of a leather belt. The neon lettering “Avido”, which translates into “greedy” or “eager”, shines above, bathing the wall installation in an industrially manufactured yet mysterious light. Calzolari makes an impressive reference to the physical and psychological dimensions of taking possession and being taken possession of. […]”I will always be a humble admirer to arte povera](https://sp1.picnob.com/p/pt_6861725658102157171432_0_8bf33fc318879f1043cbd0ef591b5101.jpg?o=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&h=884ed5afe1f7d01d3aa79eb27623de99)
