Quite apart from the apocalyptic world in which we live, it seems important to observe the nuclear unit of our society and how it works (or doesn’t). In these new paintings, I reflect upon the various aspects of the domestic interior and habitat, and more broadly, what keeps families together, draws them apart, and their extreme closeness or the resulting abysmal distance. One’s trash is another’s treasure describes the impossibility of judging needs, tastes and preferences, of living together, the promise of loyalty, and taking responsibility for each other in good and bad times. These days I think about the stupidity with which we behave as humans— how we define ourselves, what we set as examples for our children, and how we take care of them (with an oppressive love, but also at times neglect with a trace of egoism). Without a definitive conclusion, we start to observe and compare our peculiar behavior to animals in their relationships. It leaves you wondering whether they are doing better than we are.
— Eva Beresin
Eva Beresin’s (b. 1955, Budapest, Hungary) recent solo exhibitions include Aktenkundig (On Record), Spazio Amanita, New York, NY; Hidden Messages, Charim Galerie, Vienna, Austria; A Daily Exercise of Deadly Sins and Other Nonsense, La Nave Salinas, Ibiza, Spain; and Beware of the spirits that you call, M+B, Los Angeles, CA. Recent press includes reviews in The New York Times, Artforum and Art in America. Beresin’s monograph, My Mother’s Diary: Ninety-Eight Pages, was published by Verlag für moderne Kunst in 2019 and presents the artist’s paintings that were based on her mother’s journal written after her liberation from Auschwitz. Eva Beresin lives and works in Vienna, Austria.