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Review: Mathieu Beauséjour's Demi-monde at Bradley Ertaskiran

Tiny perceptions are as much he passage from one perception to the another as they are components of perception. They constitute the animal or animated state par excellence: disquiet. These are ‘pricklings,’ or little foldings that are no less present in pleasure than in pain. - Gilles Deleuze  Occupying three rooms in the basement space of Bradley Ertaskiran , Mathieu Beauséjour’s Demi-monde operates through three distinct stations. The first features three images, each a superimposition that abstracts images of bodies and exaggerates the grain of their source material. The second is a series of white painted boxes with walls torn out to reveal miniature rooms, all crudely made, their various staircases and bunkers suggesting both the exhibition space and the illusionism of Escher, only run into dead ends instead of infinities. And third, the largest of the spaces contains a video projection, several brass sculptures, medium-sized photographic works, and four sets of diced image