HADI FALAPISHI

“The overriding desire of most children is to get at and see
the soul of their toys … It is on the more or less swift
invasion of this desire that depends the length of life of a toy.
I do not find it in me to blame this infantile mania; it is a
first metaphysical tendency. When this desire has implanted itself
in the child’s cerebral marrow, it fills his fingers and nails with
an extraordinary agility and strength. The child twists and turns his toy,
scratches it, shakes it, bumps it against the walls, throws it on the ground.
From time to time he makes it restart its mechanical motions, sometimes in the
opposite direction. Its marvellous life comes to a stop. The child …
makes a supreme effort; at last he opens it up, he is the stronger.
But where is the soul? This is the beginning of melancholy and gloom.”
– Charles Baudelaire, ‘A Philosophy of Toys’

HADI FALAPISHI
As Free As Birds
13 Aug–16 Oct 2022
Goldsmiths CCA is excited to present the first institutional solo exhibition in Europe
by Hadi Falapishi. Working across painting, photography, ceramics, sculpture,
performance and installation, Falapishi weaves a narrative that is part-allegory,
part-fable. A recurring cast of a human, a mouse, a cat and a dog form a quasi-family
unit that at times feels nostalgic and domestic, but often veers toward entrapment and
violence, prompting questions around belonging, conflict and anxiety.

Taking place across all four of the CCA’s upper galleries, the exhibition centres on ideas around
freedom – its symbolisms, protections and contingencies. Life-size cages interrupt the exhibition
experience, separating artwork from viewer. The exhibition’s title references the German concept
of Vogelfrei, literally meaning “as free as a bird”, but which has been corrupted over time to mean
“rightless, without protection, outlawed”, as defined by Italian philosopher Giorgio Agamben.
Through literally caging both the viewer and his artworks, Falapishi suggests that freedom
is always a contradictory position that relies on the captive or unprotected status of others.

Falapishi also presents the darkroom as prison, referencing the long periods of blacked-out isolation
that his photographic paintings require. Drawing across photosensitive paper with colour gels and a torch,
the artist leaves a large amount of his work to chance and improvisation, not knowing what colours might
emerge until the end. Photography without a camera becomes a performance, emphasising the complete reliance
on light in darkness to produce images. In this way, Falapishi’s process references how past traumas are
brought to light through therapy and exposure. His anthropomorphic characters – who often appear trapped in
houses – present a kind of post-Disney family, their deliberately naïve style reflecting a childlike reliance
on power structures and hierarchies. Transgressive and irrational, these figures raise questions around the
framework of the family, and its in-built notions of harmony and containment.

Falapishi plays with the innate power of certain objects to induce memories of childhood. A number of antique
quilts from the 1920s serve as backdrops or frames to the photographic paintings. They bring warmth and a sense
of domesticity to the works, conjuring the sense of a body but also quaint interior décor and family heirlooms.
The exhibition will also feature ceramic works that veer between human-like forms and precariously stacked totems.
The ceramics’ hard fragility sharply contrasts with their pliable appearance, with pots bent, balanced, wedged between
each other and stuffed with soft toys. Stuffed animals – often in various states of distress – and fashion accessories
serve as nods to pop culture and the intimacy of nostalgia, and query how nostalgia can warp the boundaries between memory
and imagination.

A new, choreographed performance entitled House Animals will take place within the exhibition during the opening.
Falapishi’s cat, mouse and dog characters will be embodied by dancers, with gentle reference to Merce Cunningham.