image text special

'Robyn' by Ellie Hunter & Mckeever Donovan at Good Enough, Atlanta

article image; primary-color: #5E544A;
Installation view
article image; primary-color: #96918B;
Installation view
article image; primary-color: #D3CFCC;
Ellie Hunter, Princess, 2018
article image; primary-color: #C7C0B6;
Ellie Hunter, Princess, 2018
article image; primary-color: #DDD6CE;
Ellie Hunter, Princess, 2018
article image; primary-color: #DBD8D3;
Ellie Hunter, Princess, 2018
article image; primary-color: #B2A9A0;
Mckeever Donovan, Moon Dipper, 2018
article image; primary-color: #ABA6A0;
Mckeever Donovan, Moon Dipper, 2018
article image; primary-color: #B0AFAD;
Mckeever Donovan, Moon Dipper, 2018
article image; primary-color: #CCCBC9;
Ellie Hunter, Princess, 2018
article image; primary-color: #5E4123;
Mckeever Donovan, Moon Dipper, 2018

Robyn is the kind of supporting character that makes stories eternal. There’s no notion of her ever straying from the tasks she performs while the world moves around her, even when the book is closed. Never has there been a visitor, a sibling or a child to check in on her. She’s devoted to her plants, to the birds, and to her cat, Princess Nairobi...

In Ellie Hunter and McKeever Donovan’s exhibition Robyn, Good Enough’s space in Atlanta takes shape as a womb that hosts a circadian fantasy. Here, the viewer moves as child -- crouching and crawling their way through the room to the metronomic drone of Donovan’s mechanized sculpture. The walls envelop the viewer’s body with Hunter’s short story and wall drawing, Princess, which tells the story of a woman preoccupied with observing and tracking the daily movements of her neighbors from her seat on the back porch. In the trance of this distraction, she fails to notice that the humid air has dissolved the boundaries of her body and small animals have begun to take refuge in her gut. This languid surrender is undercut with the sinister, persistent motion of Donovan’s sculpture, Moon Dipper. The work draws upon the language of solar system dioramas: a motorized arm with a large moon on its end punctures the plane of a shelf that hosts an arrangement of painted orbs. The arm dips below this plane like a planetary marionette, methodically churning the passage of time.

9.9.18 — 30.9.18

Good Enough

'FRESH' by Rune Bering and Kevin Josias at Tableau, Copenhagen

Armen Avanessian: ‘So let us ask, why we still call this a capitalist world?’

'Dream again of better Generationenvertrag' by Niklas Taleb at Lucas Hirsch, Duss

'TOYS' by Jascha Schieche at FONDA, Leipzig

'YOU ARE HERE' by Linda Lerseth at Podium, Oslo

'Space Almond Head Void' by Sasha Auerbakh at GOMO, Vienna

'UwU' by Tea Strazicic at ung5, Cologne

'Friends Objects' by Helin Alas at Loggia, Munich

'Talent Didn’t Bring Me Here' by Günther Möbius at BPA Space, Cologne

'P**** B**** ARENA' by Isabelle Frances McGuire at Good Weather (Hosted by Et al.

'Flat Tire' by Janis Dzirnieks at Robert Fruinstraat 56, Rotterdam

'Sheets of Past and Layers of Reality', a Group Show at Hoib, Tallinn

Garden Cult Triennale, Chapter I: Sopot, Poland

'踢館 Tek Kwun' at Tai Kwun Centre for Heritage and Arts, Hong Kong

'Theological Time, Mean Landscape, Circumcision Throne, Burping Bird, Auto-censur

'More than two eyes' by Eliška Konečná and Michael Nosek at Berlinskej Model, Pra

'Wandering Wind' by Vytenis Burokas at Editorial, Vilnius

'Love Sign', a Group Show at Galerie Noah Klink, Berlin

Next Page