A
Non Standard (2017) Installation view. Courtesy the artists + t-space, Milan.
B
Joey Holder, 'Porphyrin [πορφύρα]' (2017) Installation view. Courtesy the artist + t-space, Milan.
C
Lea Collet + Marios Stamatis, 'Is it like the Ocean?' (2017) Installation view. Courtesy the artists + t-space, Milan.
D
Lea Collet + Marios Stamatis, 'Is it like the Ocean?' (2017) Installation view. Courtesy the artists + t-space, Milan.
E
Anne De Boer, 'I am breathing' (2016 -ongoing series) Installation view. Courtesy the artist + t-space, Milan.
F
Eva Papamargariti, 'Facticious Imprints' (2016 - ongoing series) Installation view. Courtesy the artist + t-space, Milan.
G
Eva Papamargariti, 'Facticious Imprints' (2016 - ongoing series) Installation view. Courtesy the artist + t-space, Milan.
H
Lea Collet + Marios Stamatis, 'Is it like the Ocean?' (2017) Installation view. Courtesy the artists + t-space, Milan.
I
Anne De Boer, 'I am breathing' (2016 -ongoing series) Installation view. Courtesy the artist + t-space, Milan.
J
Eva Papamargariti, 'Facticious Imprints' (2016 - ongoing series) Installation view. Courtesy the artist + t-space, Milan.
K
Non Standard (2017) Installation view. Courtesy the artists + t-space, Milan.

Major chords with minor adjustments: an exploration of affection in Non Standard

, 27 June 2017

The Non Standard group exhibition at Milan’s t-space opened June 8 and is running to July 23.

Non Standard (2017). Exhibition view. Courtesy t-space, Milan.

Curated by Mattia Giussani, the show looks at the relations between “human, nature and technology within 21st century networked capitalism” and includes new media works by UK-based artists Lea Collet & Marios Stamatis, Anne De Boer, Joey Holder, Anna Mikkola and Eva Papamargariti.

The exhibition also includes a text NON STANDARD: Human and technological mediations with surrounding environments  by Matilda Tjäder who explores the relationship between human affection, technology and our surrounding environments with an excerpt that reads, “A human hand picks it up, tightens and bends it, points it in the direction of a gathering point. Behind the back of all woodpecker-like dialogues, some have gathered to breath in choirs, to attest major chords with minor adjustments.”**