Ewa Juszkiewicz is part of I’m Not Afraid Of Ghosts, on view at Palazzo Tiepolo Passi, Venice, Italy.
The exhibition of works from TCollection, founded by Tatiana Fileva, will be on display from April 17 to September 22, 2024. Organized by Malevich.io and curated by Svetlana Marich and Sarah McCrory, the show features artists including Marlene Dumas, Tracey Emin, Jenny Holzer, and Issy Wood, highlighting themes relating to the body, female or otherwise, liberation, and the cyclical historical narratives that connect them.
TCollection and Malevich.io are proud to announce the inaugural showcase of I’m Not Afraid Of Ghosts, open from April 17 to September 22, 2024, at the Palazzo Tiepolo Passi in Venice, Italy. Featuring the work of 33 visionary contemporary artists, the exhibition explores parallels between the female body and cyclical histories through contemporary artistic narratives, and encourages the viewer to consider moments in which they have reflected on past experiences and traditions that have shaped them, but still chosen to courageously forge a new path.
Curated by Svetlana Marich, founder of Malevich.io, and Sarah McCrory, inaugural Director of Goldsmiths Centre for Contemporary Art (CCA), I’m Not Afraid Of Ghosts is the first public presentation of work from the TCollection, the private collection of entrepreneur and art collector Tatiana Fileva. The evocative presentation includes work by Shadi Al-Atallah, Cecily Brown, Heidi Bucher, Anne Collier, Marlene Dumas, William Eggleston, Jadé Fadojutimi, Jenny Holzer, Sanya Kantarovsky, Simone Leigh, Sarah Lucas, Sally Mann, Christina Quarles and Issy Wood.
“I am excited to see our vision come to life through the collaboration with Malevich.io in presenting I'm Not Afraid Of Ghosts,'' said Tatiana Fileva, founder of TCollection. “This exhibition draws together several narratives and allows us a moment to respect our past yet draw courage to make our own choices and look to the new. Women take center stage in this exhibition, and as always occupy multiple roles: mother, caregiver, friend, ally, confidant, and adversary. It is my hope that this exhibition sparks meaningful dialogue and inspires individuals to embrace their own journey of self-discovery and creative expression.”
The title of the exhibition is derived from I’m Not Afraid Of Ghosts (2023) by Shadi Al-Atallah, on view at the show, alluding to ghosts as our past that we acknowledge but leave behind. The works in I’m Not Afraid Of Ghosts are a testament to the power of choice, and this theme is explored with women as the central focus.
The exhibition showcases a spectrum of human emotions and experiences, from love and lust to violence and play, blurring the lines between reality and fantasy. Many of the works on display are in subtle conversation with one another; for example, Caroline Walker’s Making Fishcakes, Late Afternoon (2019) exists in harmony with William Eggleston’s Untitled (St. Simon’s Island, Georgia) (1978) as both works are a nod to the domestic expectations of women and the maternal nature of cooking and cleaning as an act of care. In addition, the exhibition opens with Jenny Holzer's Survival: In a dream you saw... (2023). A statement about the effect of boundless optimism in consideration of how we live our lives, this piece sets the tone for the exhibition and encourages visitors to reflect upon the subjects on display. Among the diverse works, Shadi Al-Atallah's ambiguous scenes invite interpretation, while Cecily Brown's abstraction relays sexual undertones through movement and energy. Together, these artworks invite viewers to explore the complexities of human relationships and emotions in a thought-provoking manner.
The exhibition will be shown in the Palazzo Tiepolo Passi, located along the central stretch of the Grand Canal. Built in the mid-sixteenth century, the Palazzo is home to the remains of frescoes painted by Andrea Meldola, also known as Andrea Lo Schiavone. Occupying the piano nobile, or principal floor, of the Palazzo, I’m Not Afraid Of Ghosts is presented as a modern counterpoint to the location’s rich history. Set against the building’s decorative and vibrant interiors, the effect of the contemporary artworks and their contemporary messages are strengthened and intensified by this spatial dynamic of old-meets-new.
