Exhibition view
Exhibition view
Exhibition view
Exhibition view
Capsule Three: Stirling Engine, Colleen Hargaden, 2022, HD video (03:14), 1550 Pelican case, 1500 Pelican case, 1300 Pelican case, portable solar panels, two portable solar generators, stirling heat engines, 90% alcohol, olive oil and oiling can, glass vials, extra wicks and rubber bands, matches, military grade flash drive, media player, metal utility shelf
Capsule Three: Stirling Engine, Colleen Hargaden, 2022, HD video (03:14), 1550 Pelican case, 1500 Pelican case, 1300 Pelican case, portable solar panels, two portable solar generators, stirling heat engines, 90% alcohol, olive oil and oiling can, glass vials, extra wicks and rubber bands, matches, military grade flash drive, media player, metal utility shelf
Bed PC (detail), Filip Kostic, 2021, Custom built water cooled computer built into the frame of a bed, bed size variable, 4 curved monitors, cables mounted to wall, keyboard, streaming microphone mounted to wall, webcams, gaming mouse, peripheral computer
Bed PC (detail), Filip Kostic, 2021, Custom built water cooled computer built into the frame of a bed, bed size variable, 4 curved monitors, cables mounted to wall, keyboard, streaming microphone mounted to wall, webcams, gaming mouse, peripheral computer
Bed PC (detail), Filip Kostic, 2021, Custom built water cooled computer built into the frame of a bed, bed size variable, 4 curved monitors, cables mounted to wall, keyboard, streaming microphone mounted to wall, webcams, gaming mouse, peripheral computer
The Leviathan’s Corpse, Andrew Rutherdale, 2021, Laser-engraved SCOBY on acrylic panel, ABS, epoxy resin, aluminum framing, LEDs
The Leviathan’s Corpse, Andrew Rutherdale, 2021, Laser-engraved SCOBY on acrylic panel, ABS, epoxy resin, aluminum framing, LEDs
Exhibition view
Savior syndrome or good girl complex, starring perpetual past, Yein Lee, 2022, electrical wire, epoxy putty, steel, plaster of paris, motorbi- ke parts, paint, plastic waste
Savior syndrome or good girl complex, starring perpetual past, Yein Lee, 2022, electrical wire, epoxy putty, steel, plaster of paris, motorbi- ke parts, paint, plastic waste
(from left to right)(liminal_board/sliced)_für ithell, (liminal_board/sliced)_für hilma, (liminal_board/sliced)_für hans, Jonas Schoeneberg, all: 2022, all: gouache, acrylic, pigments, salt, plaster, styrofoam, wood
(liminal_board/sliced)_für hilma (detail), Jonas Schoeneberg, 2022, gouache, acrylic, pigments, salt, plaster, styrofoam, wood
(liminal_board/sliced)_für hilma (detail), Jonas Schoeneberg, 2022, gouache, acrylic, pigments, salt, plaster, styrofoam, wood
(liminal_board/sliced)_für hilma (detail), Jonas Schoeneberg, 2022, gouache, acrylic, pigments, salt, plaster, styrofoam, wood
Exhibition view
I am waking up screaming, 2021, cables, styrofoam, epoxy putty, spraypaint, fake flowers, brocken CD driver, brocken Motherboard, PET sheet
Terminal Island, Colleen Hargaden, 2022, Computer generated 3D animation TRT 02:00
The exhibition Klammern aus denen Blätter Spriessen is a collaboration between the LA-based gallery Hunter Shaw Fine Art, and Berlin based independent space Scherben. The first iteration opens at Scherben on April 1, 2022 and runs until May 2, 2022. The accompanying program includes performances and lectures by the participating artists. In June 2022, the second iteration of Klammern aus denen Blätter Spriessen opens at Hunter Shaw Fine Art in Los Angeles.
Klammern aus denen Blätter Spriessen assembles a group of artists, who have independently sought out to investigate different strains and subcultures of escapism, found in DIY maker movements, mysticism, gaming culture, biotechnology, virtual reality and the extension of bodily formations through social and scientific techniques. Showing in this ensemble for the first time, Colleen Hargaden, Filip Kostic, Yein Lee, Andrew Rutherdale and Jonas Schoeneberg venture out of their studios in Berlin, Los Angeles, Montreal and Vienna to open up their practi ces to mutual encounters, allowing their perspectives and interests to intersect, converge and enter into conversation with another. Together they offer conceptual variables to understand situations excluded from normative notions of the real. Like the seemingly irreal scenario of “brackets, from which leaves sprout” (Klammern aus denen Blätter Spriessen), alternate patterns and cognitive abilities emerge from which to think the escape button culturally assigned to virtual reality anew. If one of these pathways was projected in spacetime, it would read: “Once you’ve made a gateway of brackets, slipping into the embrace between them, you unlock the control console and peer into its memory slot. There. Expect a beautiful but unreal setting.”