TRINITY instigates a triangulated conversation between three discreet bodies of works, while at the same time proposing a secular re-interpretation of the archetypical power structure “The Holy Trinity.”

The title jocularly references the Christian myth — which belongs to and informs the understanding of Western patriarchal society — opening it up to both ridicule and redemption. Through a blasphemous game of rock-paper-scissor the Trinity is challenged into becoming the figure of a Hydra — a snake woman with multiple heads belonging to the same body.

In this context Girard-Renard’s Gold is Gold performs the role of the father — the bearer of the law — in the contemporary form of the neo-liberal economy, displayed by satirical characters and situations. Brackman’s nomadic kiosk structures — which function as displays, partitions, and spaces, to present and conceal the objects and information exhibited, revealing relationships between imperialism and ethnic identity, textile and text — is the son, resiliently persevering in order to form a new narrative in A Beetle Fell In Love With A Caterpillar. By this logic, the (Un)Holy Spirit of Refusal works through Baggesen’s body of work, REFUSENIKS — a series of textile wearables, designed as a portable TAZ (Temporary Autonomous Zone), and a safety blanket survival strategy for the individual, coupled, and collective body under the new regime; it’s all play and no work — put it on and just say no!

TRINITY presents a triad of visual artists, bringing their different provenances into some of the larger political narratives of the modern era — such as the feminist movement, the Jewish diaspora, and the application of neo liberal ideology — each in their own way, with the communality of a staging that reflects the idea of an exhibition as a theatrical setting. Thus the visitor becomes the subjective “actress,” as it is through her traversing the installation, that she interacts and creates her own narrative out of the TRINITY.