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Opening report Meatdistrict
The opening of MAMA's latest expo Meatdistrict on Thursday 8 February was an extra special one; it was the curator's debut of director Nous Faes. To celebrate we organized a festive pre-opening with meaty cocktails for relations and friends of MAMA.
The party animal herself was shining in the midst of al the attention and received the nicest compliment by Emmo Grofsmit (MK galerie) who labelled Nous as a 'hidden talent' and called the show 'a beautiful museological presentation'. Of course, one is never too old to be discovered.

The industrial character of the theme is also carried out in the styling of the exterior of the showroom, which is – except for some peep-holes – for this occasion almost entirely taped up by carton boxes. Only the gigantic portrait of Lesa Lewis, a female body-builder, by Andres Serrano, can be seen from the outside. To see the other works you really have to enter the showroom.
The plastic aspect of the flesh does sometimes has a dark-showish side to it, as in the solo-chamber for the installation by Richard Stipl and also the work by Enrique Marty lets you encounter with the rougher side of life.

This exhibition, however, is illuminated by lots of humour. Take the little cabinets by Kerstin Drechsel, for instance, with little sexy dolls mixed up in diverse sexual positions, or the works by Sergey Bratkov; gorgeous documents of Russian life with sailors quasi erotic relaxing in their free time or bodies revolving in the healing process of mudd-baths.
Also quite erotic, porcelain creations by Rachel Kneebone – chique mantelpieces which, if you take a closer look, are female nudes smothered by male symbols. And robotic constructions by Rijksacademy-graduate Gal Kinan, raising assumptions on a militaristic upbringing; her overwhelming installation Father almost literally touches the ceiling. Desiree Palmen makes the body disappear by using camouflage-tactics, like you're better of in this world when you're not made out of flesh and bones. And Aram Tanis shows us our naked bodies stripped from any eroticism; this is our body.

After the opening we had a fat after-party planned, which was supposed to start at 11:00 P.M. so that we could drag all our guests from the Showroom on to the dance-floor. But due to the failing technics things went a little different and the doors to the main hall could not be opened before 12:30 A.M. This created an international scene of public trampling restlessly before closed doors. When the time had finally come Gina D'Orio gave a charming performance, although she had to do so without the sufficient equipment. For this occasion even Dj Cliché was a bit mellow, thus the dancefloor was fully crowded and we've seen some serious dance-moves. We also saw Bea de Souze (The Agency London) consulting with Hans Martens (Hisk Antwerp) and Jan Willem Stas (Willem de Kooning and KABK). After the Boijmans-event designerduo ZUS came roaming in with Air-director Patrick in 't Klooster and even after an exhausting debat-programme Sophie von Olfers (Witte de With) couldn't pass on this MAMA-party. Add Sebastiaan Straatsma (designer of MAMA's new host-desk), the Humobisten and ladies-party Kimberly Clark and almost all of the MAMA Rookies and you have a motley crew that enjoyed themselves far past Rotterdam's regular bedtime.

In the midst of all this revelry Baschz created his own tinker-corner and made everyone happy with his little blue/green lights splashing all over the dancefloor. Far after official closingtime the music played on and so it was way after 4.00 before the deejays, Gina D'Orio, Mark Boombastik and MAMA-staf crawled to their beds.

For those who missed out on it: Gina can also be admired in the European premiere of Sue de Beer's The Quickening in MAMA's private viewing in the Rotterdam Museumnacht and you can visit Meatdistrict until 1 April.