solo
TRIXIE The Hague, NL












TRIXIE The Hague, NL
13.10 – 05.11.2023
curated by
Yannik Güldner (Germany, 1996) is an independent curator and programmer based in The Hague, investigating the intersections of contemporary and popular culture, aiming to question structures of power and society at large through the eyes of upcoming and renewed artists within their multidisciplinary practices.
He is interested in creating narratives across disciplines of art, science and academia. Currently he is in charge of the artistic development at iii - instrument inventors initiative in The Hague.
He is also a founding partner of the transdisciplinary festival for waste ecologies WASTELAND and is curator of the artist-run space TRIXIE.
text by
Alicja Melzacka (Poland, 1993) is a curator living in Maastricht and working in and between places, often on the train. Between 2020 and 2023 she was a curator at Jester (earlier CIAP) – a presentation and residency space in Genk.
In 2019, she completed a postgraduate programme in Curatorial Studies at KASK, Ghent, and before that, she studied art history, heritage studies, and applied linguistics and translation. Language in its various forms and contexts continues to be her main interest.
Her texts were published in artists’ books, exhibition catalogues, and art magazines. In 2022, she curated Hypertext Hotel at SB34 in Brussels, which conceived of an exhibition as a collective work of interactive fiction.
︎Exhibition text
1. The Pumping Donkey and the Nodding Jack, 2023
heavy duty PVC, oil pastel, vinyl and varnish
35 x 40 cm
2. Leaflets, 2023
Heavy duty PVC and vinyl. Frame, oak veneer,
UV Glass 70%
67 x 89 cm
3. Canary in a gold mine, 2023
Heavy duty PVC and vinyl. Frame, oak veneer,
UV Glass 70%
67 x 89 cm
4. Familie en vis drie dagen [...], 2023
Heavy duty PVC and vinyl. Frame, oak veneer,
UV Glass 70%
74,5 x 89 cm
5. If you have a ladder everyone is tall , 2023
Heavy duty PVC and vinyl. Frame, oak veneer,
UV Glass 70%
48,5 x 67,5 cm
6. AC.2023.17. Kantoor Blauw (Adsome Noise), 2023
heavy duty PVC, ink and tape on aluminum stretchers
80 x 110 cm
7. AC.2023.16. Diptyccoocorico from the pond, 2023
heavy duty PVC, ink and tape on aluminum stretchers
180 x 300 cm (180 H x 150 W cm each)
8. AC.2023.03. Frosty macaroni, 2023
heavy duty PVC and adhesive vinyl on
aluminum stretchers
80 x 110 cm
* It’s a rat rat’s world, 2023-2024
copper traps, unnumbered editions, unique
variable dimensions
Kindly supported by the Mondriaan Fonds, Stroom Den Haag and TRIXIE.
Curated by Yannik Güldner. Text by Alicja Melzacka. Visual identity by Carmen Dusmet Carrasco. Pictures by Nieck Bakker and Helena Roig.
OCT.13—NOV.05.2023

I worked in an advertising agency.
I hate advertising.
My experience led to a constant interest in the study of urban and commercial trickery – also known in French as roublardise. To reveal the economical construct of urban contexts, I use the effectiveness of commercial strategies against itself in a tautological and often parasitic manner. To a further extent, my practice tackles the aesthetics of bureaucracy, entrepreneurship, and efficiency through relational, situational, and contextually specific works, self-reflecting upon the economy of artistic practice in a production-driven society.
works
Long Days (Short Days)
It’s a rat rat’s world
Autoroutes Sauvages
Laatste Ronde
FREE COFFEE** NO SMARTPHONE FOR ETERNITY
Kunst_planten
Towards a new domesticity
SUMMER
Le temps ne brûle pas
Billboard advertising falls on top of two cars during strong wind weather
TikTok vs Abramovic
archive
Days of our Lives
La Tonnelle Universelle
The Opening Super
D.D.-DOMESTICA DOVE
FREE COFFEE*
Enseigne liquide, Goudron lumineux
Groter, Nieuwe, Prix réduit, Toute nouvelle
Markten
The cow, the riot and the kid
Auvent, évente
I hate advertising.
My experience led to a constant interest in the study of urban and commercial trickery – also known in French as roublardise. To reveal the economical construct of urban contexts, I use the effectiveness of commercial strategies against itself in a tautological and often parasitic manner. To a further extent, my practice tackles the aesthetics of bureaucracy, entrepreneurship, and efficiency through relational, situational, and contextually specific works, self-reflecting upon the economy of artistic practice in a production-driven society.
works
Long Days (Short Days)
It’s a rat rat’s world
Autoroutes Sauvages
Laatste Ronde
FREE COFFEE** NO SMARTPHONE FOR ETERNITY
Kunst_planten
Towards a new domesticity
SUMMER
Le temps ne brûle pas
Billboard advertising falls on top of two cars during strong wind weather
TikTok vs Abramovic
archive
Days of our Lives
La Tonnelle Universelle
The Opening Super
D.D.-DOMESTICA DOVE
FREE COFFEE*
Enseigne liquide, Goudron lumineux
Groter, Nieuwe, Prix réduit, Toute nouvelle
Markten
The cow, the riot and the kid
Auvent, évente