๐๐ค๐๐๐จ๐ฉ๐๐ฅ๐ก๐๐ง
๐๐ฒล๐ ๐๐ซ๐ค๐ฆ๐๐ง, ๐๐๐ง๐ ๐๐ข๐ญ๐๐ก๐๐ฅ๐ฅ, ๐๐ง๐ ๐๐ซ๐๐ฏ๐จ๐ซ ๐๐๐ฎ๐ง๐
19 July – 6 August, 2025
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In Hochstapler — German for 'impostor' — Ayลe Erkmen, Dane Mitchell, and Trevor Yeung present works that masquerade.
Erkmen's Hochstapler/Melbourne Version (2022/2025) transforms humble bubble wrap into architectural authority. Sealed with tape and stretched between floor and ceiling, packing material assumes the gravity of a classical column while remaining transparently itself—neither structure nor decoration, but something that borrows the language of both.
Mitchell's Mother of Pearl (2024) traces the century-long life of Perlamutrovy, a phantom island that existed on maps of Svalbard until its 'undiscovery' in 2017. Through an exchange with a cartographer, Mitchell maps the territories where the map and the terrain converge.
Yeung's Swinging Floater (2023/2025) gives form to the eye's own deceptions—those small, worm-like shapes that drift across our vision when we look at bright skies. In suspended mulberry paper and silk, these forms respond to atmospheric changes, becoming indicators.
Each work operates as a kind of placeholder, marks territories of uncertainty. They suggest that imposture might not be about deception, but about the slippery nature of seeing—the way things can be present and absent simultaneously, the way we fill gaps with assumptions, the way the body participates in constructing what we think we see. Amid increasing concern with authenticity and verification, Hochstapler proposes the impostor as potentially revelatory of appearances.
Ayลe Erkmen (born 1949, Istanbul) lives and works in Berlin and Istanbul.
Dane Mitchell (born 1976, Tฤmaki Makaurau) lives and works in Naarm Melbourne.
Trevor Yeung (born 1988, Dongguan) lives and works in Hong Kong.
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