Endless Summer
Group Show
10 Jul - 07 Sep 2019
ENDLESS SUMMER
Rubén Grilo, Femke Herregraven, Spiros Hadjidjanos, Estrid Lutz & Emil Mold
10 July – 7 September 2019
Rubén Grilo, *1981, Lugo, Spain, Lives and works in Berlin
Indigo Eye #3, 2018
Laser washed and laser cut indigo denim, snap buttons, stitchings, modified screws
approx.130 x 130 cm
Examining the relationship between the body and craftsmen work, Grilo designs objects targeted for consumption and observes the field of artistic production from the industrial perspective and vice-versa. Grilo’s observation of a fashion detail leads to the history of the material that is at the same time a history of altered body-labor relations. Marks of physical labor becoming almost obsolete in the digital era, artificial signs of hard work becoming increasingly eroticized. In Indigo Eye Grilo 3D-scans a person wearing denim jeans. This 3D-scan is then unfolded and flattened in digitally, which is how the shape of the work is determined. The usage of standardization, scaling and abstraction deals with the history of industrialization and modern production with a view on the cultural digital paradigm shift and the Internet.
Rubén Grilo studied at Universidad de Barcelona and Rijksakademie van Beeldende Kunsten, Amsterdam. He has exhibited at Fundació Joan Miró (Barcelona); Future Gallery (Berlin); La Casa Encendida (Madrid); Künstlerhaus – Halle für Kunst & Medien (Graz); Nogueras Blanchard (Madrid); V4ULT (Berlin); Union Pacific (London), Martin van Zomeren (Amsterdam); CIRCA Projects (Newcastle upon Tyne); 1646 (The Hague); Supplement (London); Wilfried Lentz (Rotterdam); CGAC (Santiago de Compostela); CSS Bard (New York) and MARCO (Vigo) among others. His work includes numerous collaborations, such as with Spiros Hadjidjanos for the CA2M (Móstoles), with Drop City for the MHKA – Museum of Contemporary Art (Antwerp) and with Metaphysics for the ZKM – Center for Art and Media (Karlsruhe) or the Computer History Museum (Mountain View).
Estrid Lutz *1989 Sarajevo, Lives and works between Mexico City in Puerto Escondido & Emil Mold, *1988 Tours, Lives and works in Marseille
Southern Comfort, 2018
Transparent UV lacquer, resin lenticular sheet, pigment print on glossy photographic paper, epoxy resin, honeycomb aluminum
175 x 116 x 2 cm
This work is an amalgam of several layers of materials: fibers and resins, honeycomb aluminum, a print and a lenticular screen. Combined and merged they serve the apparition of a shifting unified collection of associative imagery. Lenticular flip technique is usually limited to only two images. In this case, saturating the medium by using at least six images graft to one another allows for a wider comment on the represented subjects by extracting them from their original media environment and affective context. This work is a photographic object, the lenticular elements merging via manual destruction with a background layer of metal debris. Working at the bleeding edge of photography and sculpture, the duo challenges the boundaries of contemporary image/object making.
Estrid Lutz & Emile Mold both studied at École nationale supérieure des Beaux-Arts, Paris
Selected exhibitions include: I dusts – The Composing Rooms, Berlin; From Transhuman to South Perspectives – Rowing Projects, London; Galerie Deborah Bowmann, Brussels; Supermarket Gallery, Budapest; Cool – as a state of mind – MAMO Marseille: Centre d’art de la Cité Radieuse; Hypersalon, Miami Beach; A sip of cool – Oracular/Vernacular La GAD – Galerie Arnaud Deschin, Marseille; Try to Forget – Rat Factory Gallery, Los Angeles.
Femke Herregraven *1982 Nijmegen, NL, Lives and works in Amsterdam
Fans in Caves, #1, #2, #3, 2018
Photo and light box
50 x 50 x 18 cm
Herregraven ran into this Fans in Caves some years ago during a trip to the Caribbean Islands. The fans were used to ventilate the humid and hot air in the caves to make it visitor-friendly. The ambivalence of devices run by electricity set up in a cave which was shaped by the environment since the beginning of time, displays how mankind tries to gain control over nature. Rather than adjusting to the geological, natural and climatic conditions, humans are modifying and also exploiting the earth for the sake of wealth and habitability. Referring to Peter Sloterdjik and his Trilogy of Spheres (1998 – 2004), Herregraven senses that humans never really feel comfortable in nature. Craving out spaces of security has always been a motivation for humans which is motivated by immaterial factors such as culture and education but also – and this mentions Sloterdijk explicitly – through air conditioning. When a landscape gets dubbed as the hottest and cruelest place on Earth, our lazy air-conditioned desire for new frontiers is instantly fulfilled.
Femke Herregraven’s work has been featured in numerous exhibitions at museums, art institutions, and biennials including at the Centre Pompidou, Paris; ZKM, Karlsruhe; Stedelijk Museum Bureau, Amsterdam; Witte de With, Rotterdam; Boijmans van Beuningen, Rotterdam; V&A Museum, London; CCS Bard / Hessel Museum, New York; Oslo Triennial; Tallinn Art Hall; Nam June Paik Art Center, Seoul; Riga Biennial; Museum for Contemporary Art, Chicago; Westfälischer Kunstverein, Münster; Guangzhou Triennial 6. She is a recent alumni artist-in-residence at the Rijksakademie van Beeldende Kunsten in Amsterdam and is a current nominee for the Prix de Rome.
Sprios Hadjidjanos *1978 Athens, Greece, Lives and works in Berlin
Deep Crowd Simulation Breakdown, 2019
HD Video, 2:28 min
Loop
Deep Crowd Simulation Breakdown (2019) is a new version of the video work Crowd Simulation Breakdown (2016). Multiple neural networks have processed and interpreted the existing video footage of a virtual crowd, repeatedly exposing not only the biases and weaknesses of machinic vision but also of their own functionality, in a process that turns against itself. Within the tensile mesh of a distributed network, it becomes possible to conceive of the relations between fixed entities themselves as objects. Hadjidjanos’ work, in line with realist philosophies, treats them as such; through multiple points of entry, he asks what it could mean to manifest a “relation as object.”
Spiros Hadjidjanos *1978 Athens, Greece, lives and works in Berlin. Recent and past exhibitions include: ZKM, Karlsruhe; C/O, Berlin (2018); Sperling, Munich (2018); Kunstmuseum Stuttgart, Stuttgart (2018); Future Gallery, Mexico City (2018); Foam, Amsterdam (2018).
Rubén Grilo, Femke Herregraven, Spiros Hadjidjanos, Estrid Lutz & Emil Mold
10 July – 7 September 2019
Rubén Grilo, *1981, Lugo, Spain, Lives and works in Berlin
Indigo Eye #3, 2018
Laser washed and laser cut indigo denim, snap buttons, stitchings, modified screws
approx.130 x 130 cm
Examining the relationship between the body and craftsmen work, Grilo designs objects targeted for consumption and observes the field of artistic production from the industrial perspective and vice-versa. Grilo’s observation of a fashion detail leads to the history of the material that is at the same time a history of altered body-labor relations. Marks of physical labor becoming almost obsolete in the digital era, artificial signs of hard work becoming increasingly eroticized. In Indigo Eye Grilo 3D-scans a person wearing denim jeans. This 3D-scan is then unfolded and flattened in digitally, which is how the shape of the work is determined. The usage of standardization, scaling and abstraction deals with the history of industrialization and modern production with a view on the cultural digital paradigm shift and the Internet.
Rubén Grilo studied at Universidad de Barcelona and Rijksakademie van Beeldende Kunsten, Amsterdam. He has exhibited at Fundació Joan Miró (Barcelona); Future Gallery (Berlin); La Casa Encendida (Madrid); Künstlerhaus – Halle für Kunst & Medien (Graz); Nogueras Blanchard (Madrid); V4ULT (Berlin); Union Pacific (London), Martin van Zomeren (Amsterdam); CIRCA Projects (Newcastle upon Tyne); 1646 (The Hague); Supplement (London); Wilfried Lentz (Rotterdam); CGAC (Santiago de Compostela); CSS Bard (New York) and MARCO (Vigo) among others. His work includes numerous collaborations, such as with Spiros Hadjidjanos for the CA2M (Móstoles), with Drop City for the MHKA – Museum of Contemporary Art (Antwerp) and with Metaphysics for the ZKM – Center for Art and Media (Karlsruhe) or the Computer History Museum (Mountain View).
Estrid Lutz *1989 Sarajevo, Lives and works between Mexico City in Puerto Escondido & Emil Mold, *1988 Tours, Lives and works in Marseille
Southern Comfort, 2018
Transparent UV lacquer, resin lenticular sheet, pigment print on glossy photographic paper, epoxy resin, honeycomb aluminum
175 x 116 x 2 cm
This work is an amalgam of several layers of materials: fibers and resins, honeycomb aluminum, a print and a lenticular screen. Combined and merged they serve the apparition of a shifting unified collection of associative imagery. Lenticular flip technique is usually limited to only two images. In this case, saturating the medium by using at least six images graft to one another allows for a wider comment on the represented subjects by extracting them from their original media environment and affective context. This work is a photographic object, the lenticular elements merging via manual destruction with a background layer of metal debris. Working at the bleeding edge of photography and sculpture, the duo challenges the boundaries of contemporary image/object making.
Estrid Lutz & Emile Mold both studied at École nationale supérieure des Beaux-Arts, Paris
Selected exhibitions include: I dusts – The Composing Rooms, Berlin; From Transhuman to South Perspectives – Rowing Projects, London; Galerie Deborah Bowmann, Brussels; Supermarket Gallery, Budapest; Cool – as a state of mind – MAMO Marseille: Centre d’art de la Cité Radieuse; Hypersalon, Miami Beach; A sip of cool – Oracular/Vernacular La GAD – Galerie Arnaud Deschin, Marseille; Try to Forget – Rat Factory Gallery, Los Angeles.
Femke Herregraven *1982 Nijmegen, NL, Lives and works in Amsterdam
Fans in Caves, #1, #2, #3, 2018
Photo and light box
50 x 50 x 18 cm
Herregraven ran into this Fans in Caves some years ago during a trip to the Caribbean Islands. The fans were used to ventilate the humid and hot air in the caves to make it visitor-friendly. The ambivalence of devices run by electricity set up in a cave which was shaped by the environment since the beginning of time, displays how mankind tries to gain control over nature. Rather than adjusting to the geological, natural and climatic conditions, humans are modifying and also exploiting the earth for the sake of wealth and habitability. Referring to Peter Sloterdjik and his Trilogy of Spheres (1998 – 2004), Herregraven senses that humans never really feel comfortable in nature. Craving out spaces of security has always been a motivation for humans which is motivated by immaterial factors such as culture and education but also – and this mentions Sloterdijk explicitly – through air conditioning. When a landscape gets dubbed as the hottest and cruelest place on Earth, our lazy air-conditioned desire for new frontiers is instantly fulfilled.
Femke Herregraven’s work has been featured in numerous exhibitions at museums, art institutions, and biennials including at the Centre Pompidou, Paris; ZKM, Karlsruhe; Stedelijk Museum Bureau, Amsterdam; Witte de With, Rotterdam; Boijmans van Beuningen, Rotterdam; V&A Museum, London; CCS Bard / Hessel Museum, New York; Oslo Triennial; Tallinn Art Hall; Nam June Paik Art Center, Seoul; Riga Biennial; Museum for Contemporary Art, Chicago; Westfälischer Kunstverein, Münster; Guangzhou Triennial 6. She is a recent alumni artist-in-residence at the Rijksakademie van Beeldende Kunsten in Amsterdam and is a current nominee for the Prix de Rome.
Sprios Hadjidjanos *1978 Athens, Greece, Lives and works in Berlin
Deep Crowd Simulation Breakdown, 2019
HD Video, 2:28 min
Loop
Deep Crowd Simulation Breakdown (2019) is a new version of the video work Crowd Simulation Breakdown (2016). Multiple neural networks have processed and interpreted the existing video footage of a virtual crowd, repeatedly exposing not only the biases and weaknesses of machinic vision but also of their own functionality, in a process that turns against itself. Within the tensile mesh of a distributed network, it becomes possible to conceive of the relations between fixed entities themselves as objects. Hadjidjanos’ work, in line with realist philosophies, treats them as such; through multiple points of entry, he asks what it could mean to manifest a “relation as object.”
Spiros Hadjidjanos *1978 Athens, Greece, lives and works in Berlin. Recent and past exhibitions include: ZKM, Karlsruhe; C/O, Berlin (2018); Sperling, Munich (2018); Kunstmuseum Stuttgart, Stuttgart (2018); Future Gallery, Mexico City (2018); Foam, Amsterdam (2018).