[…] The unknown, the xeno and the schemingly oppositional are being redefined; they are stated as mobile, affiliated entities. Thinking with the etymology of the word ellipsis, the boomerang’s movement traces the lack, the loss, but also the impossible. How does the boomerang, as a weapon, a kind of sports equipment and an object related with folk aesthetics can become a parable for reaching a horizontality and a ‘dialectics as a mode of belonging’? And how can the aforementioned qualities apply to the formation of cultural dynamics and artistic theses, productions and politics? Boomerangs operating as representatives of both rapid homogenisations and of an ‘undercommons’, using a word from the homonymous book of Stefano Harney and Fred Moten, based on inclusivity, are accompanied in the show by century eggs, signatures of the attendants, snowflakes and handles of ceramic braids

 

[excerpt from text by Ioanna Gerakidi]