We invite you to the opening of the exhibition Kickstarters, where sculptural devices threaten passers-by with kicks into not necessarily welcome beginnings. Their name mischieviously echoes the diluted mission of a well-known public benefit corporation, which has frequently fostered highly controversial and rather tragicomic initiatives. Four, like the directions of the sky, the horsemen of the apocalypse or the two-colored tokens that connect into a winning line, get united under a simple common function. Positioned at a border crossing such as Carinarnica, they embody the historical, systemic, and social tools that have profoundly marked the experience of this specific territory. The border is not so much a question of a line as a question of friction. Yet, theirs was perhaps never a show of power, but rather a silent introspection into some of our most natural and bizzare behaviors.

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At the service of the basic constructions is the deepening and thorough reworking of the anatomy of the joints and ligaments necessary to perform qualitatively different kicks. The legs, least worthy of depiction, from the very beginning of portrait practices, made of poor, locally sourced and sustainable materials, function as a pirate render of a highly specialized authoritarian weapon. The legs, also necessary for arriving, departing, passing, walking, running or fleeing, become static elements with a kinetic potential that affects above all those non-static ones, passers-by, visitors or pursuers. The legs that stand firmly in space, even when they are not on the ground. The border crossing becomes their natural habitat; a closed terrarium of alien creatures, those who remain when grand narratives fail and, like old shoes, maintain their shape long after the bodies are gone.

At the opening, we will discuss our upcoming publication about the guerrilla quest for smaller border crossings, where each sculpture was given short-term employment. We will delve into a world of sculptures captured on photographs, borders lost in time and well-calibrated kicks from the past or perhaps the not-so-distant future.

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The exhibition opening will be accompanied by the experimental group Mudlamb.

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Rotora (artistic duo Enej Gala + Moe Yoshida) explores conceptual readings of movement through comparative anatomy and puppetry traditions. By integrating sustainable practices, locally sourced materials, object sound explorations, and guerrilla filmmaking, their production ranges from small sculptures to immersive site-responsive installations. The duo is active since 2024 and has exhibited in various venues like Dolomiti Contemporanee, Villa Davia Borgo di Colle Ameno, Joystick Space in Venice, Brda Contemporary Music Festival, Guestroom Maribor, Carinarnica in Nova Gorica.

 

Enej Gala: enejgala.com

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Moe Yoshida: https://orbit-inclination.tumblr.com/bio