0302 Oh, Glory

26.03.25 - 01.04.25
Group Exhibition

OH, GLORY explores the poles of submission/domination, collective/individual, loss/ salvation, public/private, divine/domestic: How smoothly binaries ﬂow into hierarchies. A society constructed around consumption views the world in terms of commodiﬁcation. This scaﬀolding pitches humans above objects–the eﬀects of which can be seen manifold in humanity’s willingness to pillage the earth, and humans as objects–seen in the unimaginable violence that is commonplace in society. The world is bleak. Perhaps more bleak than before. So we search for solace like a hand on cold ground, desperately feeling for a coin slipped beneath an arcade machine. But, oh, glory, have you tried playing?

Bimbo Fantasy 3000, Joley Lorenzen

70 x 70 x 180 cm
Barcelona, 2025

We’re all sacred, vulnerable objects. Frozen bodies, open-mouthed, afraid of monsters under the bed, roaming the streets, making policy, calling us wrong.

Bimbo Fantasy 3000’ is an interactive, low-ﬁ, phallocentric arcade machine. Forgoing subtlety, it reﬂects on exploitation, propositioning an opportunity for viewers to pay and play the game of degradation.

Joely Lorenzen (b. 1997, USA) is a multimedia artist living in Barcelona, Spain. She works with sculpture, sound, writing, installation, video, and performance. Her work situates itself somewhere in the mix of the politics of sex, care, god, and play.

Hidden (No. 1, 2, 3 & 4), Robin Vuitch

Oil on canvas
Barcelona 2023-2025

Depiction of a moment that held a charged feeling in a room kept in privacy. Before the return of others it was removed but remains anchored on the door handle through memory. Laundry holds the absence of us, moments we shed before cleansing and resetting the space and self again.

Robin Vuitch (b. 1997, USA) is a multidisciplinary artist whose work spans from textile, sculpture, painting, performance, and poetry. Their practice explores the boundaries between public and private life, often addressing themes that provoke discomfort or resonate with the viewer’s personal experiences. Vuitch's work delves into the complexities of the body and its absence, questioning how we define and engage with both presence and absence in our daily lives.

Hands and Knees, Mallory Bowen

Wooden bench and soap
Plaster hands
65 x 67 x 100 cm
Barcelona, 2025

Found wood and soap form a prayer bench, cushion with knee prints, and praying hands inspired by my grandfather’s prayer bench that stood in my childhood home.

Spick and Span, Mallory Bowen

Video Installation
Barcelona, 2025

Mallory Bowen (b. 1995, United States) Is a multidisciplinary artist living in Barcelona, Spain. Her work explores the complex emotional relationships between women, interiors, and traditional domestic objects from the American South. She uses materials from within the home, such as soap, wax, and upholstery fabric, as a language for the domestic. Revealing the connection between memory, objects, and resistance while emphasizing the significance of craft, oral history, and generational bonds.

If I suspend the disease, will I keep it from spreading to those around me?, Madison Katrina Flood

Wooden beam installed with yarn, site specific installation of liquid latex and salt
204 x 6 x 6 cm
[Dimensions vary]
Barcelona, 2025

A very large yarn spider with very long legs lives in a garden in Detroit. In the evenings, as she reads Mark Fisher's Capitalist Realism, the garden grows a piece of wood and a piece of latex for her to eat. Deep in thought about the idea of how capitalism unrightfully individualizes mental illness, the yarn spider is not hungry. Instead, she packs her web into a satchel and sails the Pacific to display her catch in 200CENT, the items suspended and now contributing to a larger conversation about the bullshit of capitalism and its contributions to mental illness.

Madison Katrina Flood (b. 1997, United States) is a poet, artist, and curator based in Barcelona. Her work uses sculpture, performance, and installation to investigate how poetry can exist off the page and in space.

Suspended Object #3 (Hard Drive), Marina Bethanis

Cross stitch, paper mache, thread, chain and egg
36 x 67 x 24 cm
Barcelona, 2025
Image of a small chapel's altar translated, suspended and nested. An attempt at salvation in 5082 stitches and a web.

Through her craft, Marina Bethanis (Brasil, 1995) threads way through the devouring, digesting, and re-hatching processes that form memory and illusion, and how those intertwine with language in their constructions, contributing to the cultivation of the other. The explorations are made mostly through the mediums of (string) sculptures, audiovisual, painting and sewing.

Rod, Laura Torres Brunet

Iron
247 cm
Barcelona, 2024
A nested tubular structure of metal, its telescopic form extends towards the viewer, embodying an endless cycle of commodification. Just as the system extracts labor, it also drains intimacy, agency, and identity from bodies put to work. Acting as the system’s gaze, it imposes an unceasing demand for production, surveillance, and control.

Laura Torres Brunet (Roses, 1992) is a multidisciplinary artist that lives and works in Barcelona. With a background in Neuroscience, she investigates the sociopolitical dynamics that affect the body, with a crip/queer approach. She often formalizes with sculpture, writing or audiovisual installation.

The exhibition is curated by Marc Larré with the collaboration of Metáfora Studio Arts students and alumni.

✩ Graphics by Joley Lorenzen