femininer, üppiger, kurvenreicher Weiblichkeit gesehen? Ändern wir unsere Wahrnehmung von dem wer sie sind, wenn wir sie betrachten? Verändern sich die gezeichneten Figuren in ihrer Pose von diesem zu jener Haltung? Welche Art von mentalen und visuellen Anpassungen machen wir, wenn wir sie sehen? Jill Colchester fordert unsere Wahrnehmung zu jungen Frauen heraus. Sie zelebriert ihre Dynamik, ihre Anmut, ihre Fluidität und Jugend. Diese Pop-up-Ausstellung ist flüchtig und fokussiert den Blick auf das Modell, das sich hierhin und dorthin bewegt. Die englische Übersetzung von „So und So“ ist „so and so“, or „ this and that way“. Die Modelle sind so oder so gezeichnet. Im Englischen bedeutet „ and So” eine Person oder eine Sache, dessen Name nicht spezifiziert werden muss, man nicht weiß , sich nicht erinnert. Die Doppeldeutigkeit des Titels fordert auf, die Betrachtung von Frauen zu reflektieren, ihre Bewegungen – und den Blick auf sie.
Are they seen, or perceived, as un-named sexual objects or are they
seen as the epitome of womanhood, fulsome, feminine and curvaceous. Do we, the viewer, change our perceptions of who they are, as we gaze at them, and do they, the drawn figures, appear to change in their pose from this way to that. What kind of mental and visual adjustments do we make when we view them?
Jill Colchester is challenging our perceptions of young women. She is celebrating their dynamism, their grace, their fluidity and youth.
This pop-up exhibition is fleeting in time, catching glimpses of the posed model, who turns this way and that.
The English translation of So und So, is this way and that. The models are drawn looking this way or that way. However, in English, So and So means ‘a person or thing whose name the speaker does not need to specify or does not know or remember’. The 
double entendre in the title challenges us to rethink our perceptions of women, how they move and how they are seen.
Jill trained in Contemporary Dance and is fascinated with movement and body language. She lives and exhibits in the UK, where she tutors adults on her 60-week drawing course, with Abingdon & Witney College, Oxfordshire.
Tantão is a visual performer, painter and musician from São Gonçalo, in the opposite side of the bay toward Rio deJaneiro. After studying classical violin in his youth, he followed both his father and grandfather steps and worked for some time as a draftsman in a shipyard. He also ran a paralel music career playing keyboards and synths with his former band Black Future – which recorded an LP in 1988 and split a year later, after the label’s director was fired for their recordbeing considered ‘too experimental’. Now it’s worth a fortune as only 5000 copies were printed and it became a cult. All the music parts of the record were made by him and the lyrics were made by his partner Satanésio, who was the lead singer. Their hit single “Eu sou Rio”, which named the film, had a new relese in 2006 as part of a compilation of Brazilian post-punk songs produced by the Berlin-based label Man Recordings named Sanguinho Novo, in 2006. 
Amazing performance by Tantao and it really clicked between the three of us musically. Tantao, Delm
Als Schmacke im August 2016 auf Einladung des Goethe-Instituts und mit Hilfe des Carl-Hill-Stipendiums Nigeria in Westafrika besuchte sah er, das Afrika vor 200 Jahren noch ein ganz eigene
s Bild abgegeben hätte, wogegen heute die gleiche Zivilisation wie in Europa oder Amerika vorherrscht, nur nach afrikanischem Muster.
