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Hedonism II is, essentially, a sex resort. There are nude beaches, classes on fetishes, and necklaces that declare your sexual interests to other guests. Sure, I enjoyed throwing back jagerbombs and vodka lemonades while wearing something bodycon back in my uni days, but over time I got tired of pretending I could hear what anyone was saying over the thudding music, fed up of getting my butt grabbed by randoms and gyrated on by sweaty men dripping, and tired of the sense that everyone was there to hook up.
Situated in the former home of international playboy Gunter Sachs, Lewis revives the spirit of its storied past with her own indulgences in a sensuous performance that is part fantasy, part reverie where nude figures move in daylight meeting and inviting the gaze of the public without divesting themselves of their subjecthood. Lewis twists the affect of nostalgia in the pastoral mode toward generating a sense of longing for a different future, a future in which the notion of the individual has dissolved into the relational, a future of receptivity, sociability, and collaboration rather than one of competition, conflict, and coercion. Set against the painted landscape on the walls of pool area the work evokes tropes of idyllic human relations with the natural world as a springboard into more complex and nuanced ruminations on the possibility of some kind of attunement with our planetary oikos, an attempt at generating a more salient sense of living with, dying with and being at home with our ecosystem as a whole.