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When visiting Frank Mulvey’s remarkable exhibition Prism Schism, presented at Hangar 7826 in 2024, we never could have predicted that it would become, a year and a half later, the starting point for two exhibitions. However, the playful and polymorphic nature of Mulvey’s universe quickly led us to create curatorial approaches that challenge the curatorial modalities we have grown accustomed to.

Accordingly, the selection of artists brought together in the group exhibition Residents of the Great Negation was not guided by supposed conceptual affinity with Mulvey’s work. We simply invited artists whose practices we value to propose works exploring various modalities of black and white, knowing that their juxtaposition with Mulvey’s delirious and dystopian imagination would provoke unexpected resonances — capable, if only momentarily, of suspending the discourses that tend to distract us from what truly matters: the sensory experience.

The result is a system of mutual correspondences: on the one hand, by accepting our invitation, these “visiting residents” bring a tacit homage that casts renewed light on their own work; on the other hand, the artist allows the richness of his corpus to inform Cache’s editorial and curatorial approach — undoubtedly beyond the timeframe of these two exhibitions.

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- Eric  Bertrand