In biology, mimicry implies a mostly visual adaptation to a different life form, which could be beneficial in some situations and, ultimately, secure survival. In his Essay “Mimicry and Legendary Psychasthenia” however, Roger Caillois suggests that contrary to popular belief, animals blend into their surroundings not to protect themselves, but rather out of a mythological desire to dissolve into the world. It is this balance between an utilitarian purpose of becoming another and the emancipation from this very purpose that is being discussed via the works of the exhibition. These mechanisms are not only practiced by animals but play into various social phenomena.
The artworks in the exhibition Mimicry – Empathy confront these strategies of adaptation and the idealized forms of life they are aimed at. The evolution of mimicry requires a certain degree of empathy an essential element for understanding the system into which one wishes to integrate. The success of visual assimilation thus depends entirely on the extent to which one engages with the thoughts and strategies of the counterpart, often blurring the boundaries between imitator and model. A process of questioning the original essence inevitably takes place.
The process of mimicry involves transformation in relation to or in exchange with others to conform to a particular image which is considered advantageous. The works in the exhibition Mimicry – Empathy are more concerned with the process of transformation itself than with the aspired image, and thus address identity formation through multiple experiences of imitation. It is in the transformative experiences of the individual within a group and in genuine mutual empathy that the potential for change in society ultimately lies. As teenagers playfully test their identity in different group affiliations, the visitors are invited to discover variations of the self in the mirror of the exhibition.
This exhibition was supported by the ifa exhibition funding.
