Rodeo is happy to announce the group show If Tomorrow Never Comes with favourite artists and finds a common line between all in what can one call “lost and found traces of our civilization”. We are presenting works of artists that use the past and its records as an act against oblivion. But this is not an exhibition on memory; it (neither) is a nostalgic show. Humans have become collectors of all kinds. A simple and authentic postcard collection of graphic designer Yimaz Aysan, Beaute Orientale has a central role since the postcards dating back to the end of the Ottoman era become carriers of female stereotypes at this time; next to it the work of Angelo Plessas, a youtube.com <http://youtube.com> channel titled Fantasy Gates brings today sci-fi films from the beginnings of the history of film. Haris Epaminonda’s Tarahi III is a video made (as most of the artist’s work) from footage collected, selected and subtly and masterfully edited at a point where the original does no longer exist. On the contrary the latest work of Gülsün Karamustafa Bosphorus 1954 made from archival photos brings back an outstanding event in the local history of Istanbul when icebergs floated from the Black Sea to the Bosphorus and blocked the communication between east and west shores.
The work which the exhibition borrowed its title from, is a black and white slide projection by Christodoulos Panayiotou in which images from newspapers in Naples show fireworks in the sky; their meaning ambiguous as is their time since their lacking colour makes them timeless. Loukia Alavanou’s haunted animation Geppeto’s Clocks unravels hidden psychological mechanisms within a photo of granny and papa. The figurative becomes abstract in the Erase oil paintings by Eftihis Patsourakis; his ghosting method of disappearing the past through everyday practises. Mark Aerial Waller’s single scene from Flipside of Darkness, Resistance Domination Secret, is an amalgamation of different ghosts from the history of film cut and edited in a magical way. He is using history as its medium to create new scenaria and iconographies by bringing together power plant aesthetics with baroque and classic elements. Emre Hüner’s Boumont is an archaeological filmic excavation shot in the near future. A possible scenario that comes out of mass production and consumption shows the possibilities in the cities we inhabit, consume and leave back. The exhibition is closing with the project of Andreas Angelidakis on the decadent villa of art dealer and collector Alexander Iolas, titled A Short Visit. The grand life Iolas had, the ruined house and the dispersed collection, the becoming public of something so private and the fall of this empire epitomize If Tomorrow Never Comes.