| “Eikasia—The Pride of Progress” is not only the name of an exhibition. Josefina Posch’s current exhibition at DDM Warehouse, combining her previous and recent works, reveals her attitude toward our society, highlighting its false sense of convenience. Each sculpture in the space is hung closely, resembling us sitting in our office cubicles. Posch’s most recent works were produced during the course of her two-month residency at the Shanghai Duolun Museum of Modern Art. We used to call the project “the black space.” In reality, the plan for her residency arose from her breathing, lung-like sculpture. |  |
The Pride of Progress – Biljana Ciric
“Eikasia—The Pride of Progress” is not only the name of an exhibition. Josefina Posch’s current exhibition at DDM Warehouse, combining her previous and recent works, reveals her attitude toward our society, highlighting its false sense of convenience. Each sculpture in the space is hung closely, resembling us sitting in our office cubicles. Posch’s most recent works were produced during the course of her two-month residency at the Shanghai Duolun Museum of Modern Art. We used to call the project “the black space.” In reality, the plan for her residency arose from her breathing, lung-like sculpture.
In the DDM Warehouse space, she creates another environment, providing a space for audiences to linger and even recline to view the artists’ faces and to hear their recorded heartbeats. Does anyone listen to intellectuals’ voices nowadays? Posch takes this question seriously, and considers both artists’ rights of creative expression and the societal role of the artist.
Posch has claimed that her Shanghai works are not only about Shanghai, but that they also deal with worldwide problems. It can be said that her new works are turning points. They open a fresh means of communication between artist and audience since she has created a unique space and atmosphere that is perhaps a utopia or some shadow of contemporary society.
Our conversation with Josefina took place the day before she left Shanghai. As we prepared the exhibition together, I realized that, for most artists, it is critical to sacrifice something so as to give one’s self new possibilities. I do not believe that this exhibition is her progression; rather, it is more appropriate to say that it is her peak period. In our conversation, Posch discussed her own first experiment, her own thoughts, and the world—all from the standpoint of her plan.
