Installation View
Installation View
Sandra Vaka Olsen, Jugs (guarana antarctica), 2017 / Jugs (surge), 2017
Rebecca Ackroyd, Hunter/Gatherer v, 2018
Rebecca Ackroyd, Hunter/Gatherer v (detail), 2018
Installation View
Rebecca Ackroyd, Hunter/Gatherer vii, 2018
Installation View
Rebecca Ackroyd, Hunter/Gatherer iii, 2018
Rebecca Ackroyd, Hunter/Gatherer iii (detail), 2018
Installation View
Martin Maeller, energetic decomposition, 2019
Installation View
Rebecca Ackroyd, Hunter/Gatherer iv, 2018
Rebecca Ackroyd, Hunter/Gatherer iv (detail), 2018
Installation View
Installation View
Sandra Vaka Olsen, Cloud (raspberry connections) 2017 / Cloud (beer), 2017
Rebecca Ackroyd, Hunter/Gatherer viii, 2018
Rebecca Ackroyd, Hunter/Gatherer viii (detail), 2018
Installation View
Installation View
Julia Colavita, Speech Effects (detail), 2018
Martin Maeller, outlast (2), 2018/2019
Martin Maeller, outlast (2) (detail), 2018/2019
Installation View
Monika Grabuschnigg, Crash (Simulation 3) / Crash (Simulation 4) / Crash (Simulation 2), 2019
Monika Grabuschnigg, Crash (Simulation 4), 2019
Installation View
Maren Karlson, Space Crone Suit, 2019
Monika Grabuschnigg, New Fire - Hardware for the Real, 2019
Monika Grabuschnigg, New Fire - Hardware for the Real (detail), 2019
Installation View
Inner chaos, like those secret volcanoes which suddenly lift the neat furrows of a peacefully ploughed field, awaited behind all disorders of face, hair and costume, for a fissure through which to explode.
– Anaïs Nin, A Spy in the House of Love, 1954
This exhibition is in the same breath self-destructing and reviving–piecing together what’s left. It mourns; choking on the fumes of singed plastic waste. It scuttles; away from the rubble in search of halcyon estuaries.
Nightshades are mythologized to blossom only at night. In shadows and crevices they creep and shiver, opening themselves to the thick tenebrous air.
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