NEVER HAPPENED exhibition

The "NEVER HAPPENED" exhibition at POP&ROLL gallery is truly unique. This show was never actually meant to be a public display; it was initially set up solely for a film shoot. Yet, its unexpected journey to becoming a public phenomenon is a fascinating story. So many people found themselves drawn to the intriguing display, peeking in through the gallery window, that we decided to make the exhibition material publicly accessible. What's even more surprising? "NEVER HAPPENED" never had an official opening, nor is it "open" in the traditional sense today. Despite this, countless visitors flock to POP&ROLL daily, specifically booking private viewings to experience it. It's been incredibly interesting and quite amusing to witness this unconventional path to success. People were, and still are, far more captivated by a seemingly "closed" exhibition, only viewable from the outside, than any of other traditionally "open" shows. It just goes to show: sometimes, the most unexpected ideas create the biggest buzz.

FREEDOOM

fibre-reinforced plastic The meanings of the words ‘FREE’ and ‘DOOM’ contradict each other, which reflects the paradoxical situation of the sculptures. The inscription ‘FREE’ on the figures’ faces proclaims freedom, while their hands tied behind their backs suggest captivity and limitation. Even the ‘golden’ figure, seemingly in a position of leadership and power (or the ‘Chosen One’), has its hands bound behind its back, with the ‘FREE’ inscription still visible on its face. The artwork serves as a critique of modern societies, where freedom is often illusory and people are prisoners of their social status. It also represents a tool of manipulation, as power influences the fate of the individual.

SOFT POWER

acrylic on fibre-reinforced plastic, glass The ‘FREE’-faced figure with its hands tied behind its back, the old Junoszt TV, the noisy broadcast ‘FREE’ face on the screen, and the seemingly real glass fly, along with the cute appearance, are all symbols that together carry a multitude of meanings. The artwork raises complex questions about freedom, power, media, reality, and the human condition. It explores relevant themes of modern society such as manipulation, propaganda, the influence of the virtual world, and the different forms of power. The title (‘SOFT POWER’) is particularly important because it juxtaposes the concept of ‘soft power’ with the coercion and manipulation depicted by the sculptures and raises the question of the hidden forms of power.

WORKOUT

mixed media The artwork centers on the contrast between playfulness and violence, entertainment and pain. The combination of the children’s boxing machine and the plush figure with the ‘SORRY’ face as a punching bag creates a particularly unsettling effect. The 'OUTSTANDING' inscription from the Mortal Kombat game (a phrase that appears when your avatar knocks out the other figure) further nuances the meaning of the piece. The artwork is a critique of violent behavior towards children.

GONE

hand tufted rug The size of the spread-out tiger rug (3 m) corresponds to the average body length of a tiger (2.2 - 3.3 m). This is a frequently used graphic and decorative element. However, the word 'GONE' on its face refers to extinct tiger species and their endangered status. The rug was handmade in India.

BODY POSITIVITY

fibre-reinforced plastic Body image disorder and the pressure to conform. The sculpture, which wraps itself around and has disproportionately long arms, is a metaphor for distorted body image and self-destruction caused by societal expectations. The 'SKINNY' inscription on its face emphasizes the pressure to conform to the ideal of thinness. The sculpture, which manipulates itself, is a symbol of self-deception or self-delusion. The desire to be seen as good by the world often compels us to distort reality. The 'Thumbs Up' gesture expresses the desire for recognition or the striving for external validation. The sculpture, although seemingly satisfied ('Thumbs Up'), is in reality trying to conform to the outside world in a self-destructive way. The mirror in front of the sculpture symbolizes the importance of external appearance and our distorted relationship with reality. The reflection we see does not necessarily reflect reality.

ENJOY

Extruded Polystyrene (XPS), OSB, wooden, plywood, cotton wool, wool felt, leather This is a giant teddy bear with the inscription "ENJOY" on its face and an armchair inside its belly. The artwork is both a functional object and a sculpture, creating childhood nostalgia and an intimate space. The "ENJOY" inscription on its face serves as both a simple invitation to rest and relax and, due to its size and context, has a subtle ironic undertone.

JUST DECORATION

acrylic on extruded plastic Whoever sits inside can look at a painting. This painting on a handheld console depicts a pixelated landscape in the making. The artwork reflects on 17th-century Dutch landscape painting, where artists created an idealized, "perfect" composition rather than depicting reality. The machine also does not create a real landscape, but only an essence of what programmers have "taught" it. The landscape created by the machine is not yet fully completed; the pixels are still moving downwards to their predetermined spots, just like in a game of Tetris. The inscription "JUST DECORATION", as the name of the console, carries a playful irony. It doesn't specify whether it critiques the landscape created by the console, or the entire artwork itself, which may later be degraded into a decorative object.

ARTY FARTY

fibre-reinforced plastic The word 'REBEL' is visible on the face of the graffitiing figure, which is spraying the word 'SORRY' onto the gallery window from the inside. The figure is simultaneously rebellious ('REBEL' and graffiti) while also showing remorse ('SORRY'). Combined with the title, is it a strongly sarcastic work hidden behind a facade of cuteness, or a pretentious, empty piece of affected artistry?

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