Like an incantation, the title of Nika Kupyrova’s [sculptures] can be repeated and varied, repeated and varied, repeated, varied and varied again. The linguistic elements of the poem constituted by such a process each function for themselves. They are autonomous, but [..] also singular components of one and the same system. For only in their union emerges the power of the poetic formula. In the combination of the words, in their order and reordering, in the potential of permanent variability. The effect unfolds upon usage. Not the saying but the speaking yields reality.

Pseudo-Latin, everyday found object, readymade, malapropism. Like a spell that targets art production, like magic that haunts its gestures, the gestures of the manipulation of forms, the gestures of the manipulation of material. In both the virtual and truest sense of the word: handling. The handling becomes the artifice. Enchanting, always ambiguous. [It’s] like an abracadabra: universal, deployable in all times and spaces. Depending on the context, however, its usage leads to different results. A, B, C, D, the individual parts of the dynamic system in a temporary standstill. Fragmentary and modular, adaptive. A-Bra-Ca-Dabra. With intention, on purpose—yet unpredictable.

Abra abracadabra
I wanna reach out and grab ya
Abra abracadabra

laminated fibreboard, steel, plastic bags, analogue photoprint, acrylic paint, rubberized fabric, photocopy, found objects

photography by Adam Šakový and Nika Kupyrova

resin casts are part of collaboration between Nika Kupyrova and Kristin Weissenberger

exhibition views at SODA Gallery

text by Franz Thalmair