Feb 22–Mar 30, 2019
Artists
The Iduna Institute for
Strategic Imitation & Delay and Amelia Groom
“Carbon dioxide is a by-product of breathing, released with every exhalation, when the lungs have taken what they want from the in-breath. Besides releasing chemical left-overs, air on its way out from the body can also be articulation – when exhaling involves the shaping of breath into speech. In solid form, carbon dioxide becomes dry ice – dense blocks of breath-waste, potential utterance, releasing gas that runs down instead of up, towards the earth, away from heaven… ” [Extract from audio track]
The Iduna Institute for Strategic Imitation & Delay is based in Amsterdam and devotes itself to sober renovations of the world-spirit.
Amelia Groom is a Berlin-based writer and currently a Postdoctoral Fellow at ICI Berlin Institute for Cultural Inquiry.
WORKS
Iduna Institute for Strategic Imitation & Delay
and Amelia Groom
Cave Staples, 2019
audio track (29minutes) dry ice, plastic aquarium rock, bluetooth garden speaker (in the shape of a stone), studio speakers and meadia players, pebble mat.
Jan 09–Feb 09, 2019
Artists
Signe Boe
A hill in Rome is formed from millions of broken tuns. Remains of the Roman Empire’s trade, fragments of travelled @mphorae, from Tunis, Tangier, Aragon @Rome. We think we were born with this sign but it gave birth to us: products of a consumption culture, detached ornaments, the history is online.
A pdf of a theoretician with a German name, pronounced in English by the Danes – oh ton o ton! compares the translation of language with the repaire of a broken vessel. We relate to eachother through metaphorical containers. What’s in it for me? Our ruined understandings of each other. I say [toːn] and see a mended vase from the shards of Monte de Cocci; a mountain of tons of tuns and tones on tones on tono tono tono.
ton&ton is an exhibition of sculptural manifestations of outspoken words. Signe Boe (b.1988) lives and works in tono ton tono tono. Her practise ton tono tono tono tono tono ton tono. Ton tono ton tono C.C.C. Projects tono Kunsthal 44Møen ton tono. ton&ton ton tono by Københavns Billedkunstudvalg.
ON THE STORAGE BOXES
a Fresnel lens, magnifying:
tone oh tone, a collage of sound and video recordings from the software Melodyne, used to correct intonation and tone. The original recording comes from a man, whose only means of expression is by varying the intonation of the word ton. Ton in German means sound and clay.
small pile of blah blah and small part of the word [ˈɑmˀfoʁɑ] and some shards of a broken word.
3D-printed clay
laser engraved drawing of Monte de Cocci. Monte de Cocci is a hill in Rome that was formed during the Roman Empire from broken vessels transporting oil and wine to Rome.
ON THE CORK
a series of 3D-printed clay vases, translated from the sound waves of the pronounciation of words:
part of the word [ˈɑmˀfoʁɑ]
part of the word [ˈvesl]
part of the word [baˈsi.xa]
part of the word [baˈsi.xa]
part of the word [ˈkʁɔgə]
part of the word [æmˈfɔːrə]
part of the word [baˈsi.xa]
part of the word [æmˈfɔːrə]
part of the word [baˈsi.xa]
part of the word [baˈsi.xa]
Laser engraved drawing of Monte de Cocci
Laser engraved quotes from Walter Benjamin’s The Task of the Translator (1923), different translations. The font tonoton is based on tracings of the corks of Peryton’s wine selection.
ON THE FLOOR
pile of blah blah
3D-printed clay.
In 16th century mediteranian trade, the @ symbol represented one amphora: a unit of
weight and volume based upon the capacity of the standard amphora vessel. To me, now, it is a marker of places and persons, of talking past each other.
talte med lale mulige
3D-printed clay, collapsed
All works 2018
Nov 23 2018–Jan 05, 2019
Artists
Kasper Hesselbjerg
So, what is it actually? Well, presented in words the exhibition could sound something like this: a leaf of cabbage as a hat, salad in a porcelain ear, a sausage, the sound of you chewing broccoli, and a marzipanned toe in broad moon light.
Biography
Kasper Hesselbjerg lives and works in Copenhagen, and holds an MFA from the Royal Danish Academy of Fine Arts (2013).
His practice has been occupied with the fluid or blurred boundaries between reality and fiction, sensation and imagination.
For several years, Hesselbjerg has been working with sculptures, collage, and language in the pursuit of questions on the meaning of objects, and how these meanings might affect our everyday lives. In this pursuit, food has served as an example of an object which has to be encountered through the senses and through thought to be fully grasped.
His latest published books are Cornflakes og andre specifikke objekter [Cornflakes and other Specific Objects], which poses a sculptural theory on food using catastrophe theory, Salatfeber [Salad fever] and Østersdage [Oyster Days], both of which are meditations on the role of imagination in the experience of objects.
With Absalon Kirkeby, Hesselbjerg is also the founder and editor of the publishing house emancipa(t/ss)ionsfrugten.
This exhibition has been supported by Københavns Billedkunstudvalg
TO BE ORDERED AT THE BAR
Your Head Is Your Conch Shell
Broccoli, earplugs, stone ware
10 DKK
Soft and Easy Pleasure (Ear Salad)
Mussels, pea sprouts, frisée lettuce,
pumpkinseed oil, lemon, vinegar,
porcelain
25 DKK
Sausage Abundance
Meat of bison, chicken, common wood
pigeon, crocodile, duck, fallow deer,
goat, goose, guinea fowl, hare,
kangaroo, lamb, ox, partridge,
pheasant, pork, poussin, rabbit, red
deer, roe deer, sika deer, turkey, wild
boar and zebra, pepper, oxen sausage
casing, wooden stand
25 DKK (served with cornichons)
UPSTAIRS
Irreverence
Framed photography
80 x 110 cm
DOWNSTAIRS
Big Toe
Marzipan, plaster, foam
Lunacy Lamp
Paper, wood, light bulb
Autumn Pile
Marzipan wrappers
All works 2018
Oct 12–Nov 17, 2018
Artists
Emelie Carlén
Emmeli Person
Curator
Bronwyn Bailey-Charteris
Fragments of artist Emmeli Person’s work Heliosynchesiy (Hēlios=Sun Synchesiy=Confusion) are presented at Peryton and online in the form of the website www.google-my-symptoms.info
‘At the same time’, means also ‘concurrently’, which also means ‘simultaneously’, which can also stand in for ‘contemporaneous’. Emmeli Person and Emelie Carlen are quite frequently mistaken for each other, and in this way are able to stand in for each other. They make work alongside each other sometimes and in some way, they are ‘at the same time’ to each other in some respects. In recognition of these circulating patterns, of both artistic and personal narratives, this exhibition plays out in a couple of different ways ‘simultaneously’ and the artists present themselves and the works ‘contemporaneously’.
The exhibition within Peryton houses a photograph of three rings looped into an ear, with yellow glass staining the image. This image is both at Peryton and at Undantaget, on the island of Öland, Sweden, in another exhibition of Emelie and Emmeli. In this way, and in other ways, the Artificial Iris selects what is in its view. It plays with perception. It zeros in and out, and confabulates a twisting, circular reality. It’s a circulation of circulatory systems.
Back in the town in the north, Longyearbyen, where nothing ever dies, the permafrost has preserved the bodies in the graveyards and the fossilised fuels in the ground. On March 16 2019 the sun will return there. The Artificial Iris in Longyearbyen will gather at the Town Hall with the other inhabitants of the city to welcome the suns return. At the same time, the website will close. Your symptoms for Heliosynchesiy (Hēlios=Sun Synchesiy=Confusion) will then decease to be searchable. The spinning may pause.
— Bronwyn Bailey-Charteris
Emelie Carlen and Emmeli Person
Helio-systems
21 x 30cm, inkjet print, plexiglass
Emmeli Person
Sunsets
10.00 min, HD video
Emelie Carlen
Fail-fast systems
dimensions variable, cast wood sap, steel
Emmeli Person
SU
19.39 min, HD video
Emmeli Person
http://www.google-my-symptoms.info/
website
All works 2018
May 25–July 21, 2018
Artists
Carlos Fernandez-Pello
Carlos Monleón
Curator
Julia Morandeira
Exhibition Poster: Santos Henarejos, Symbiotic entanglement for an exhibition, 2018 (1 of 2 designs)
Symbiosis is simply the shared life of different organisms in physical contact with each other; it is a process of long-term physical associations of nourishment, care and mutual dependencies. Nothing is true, everything is alive is a curatorial research project that departs from a series of feminists readings of science and biology, to trace and enable the epistemological, sensory and aesthetic paradigms they reconfigure. This chapter focuses on the work of Lynn Margulis who stated that the true force of evolution is not competition amongst individual animals, but the incorporation of and entanglement with other organisms, throughout the work of bacteria.
– extract from curatorial text by Julia Morandeira [see room sheet]
Made with the support of Acción Cultural Española (AC/E) through the Programme for the Internationalisation of Spanish Culture (PICE) under the Mobility grants, and the Danish Arts Foundations.
Carlos Fernández-Pello
Tombstones are not flat
Installation with video, printed textiles, aluminium structure
Carlos Monleón
Gastriculation
Jute and silicon rope, blown glass, silver leaf, water kefir grains
Carlos Monleón
To eat is human, to digest is divine
Wet plaster, netting, polyester resin, clay amphorae, molten glass
Carlos Monleón
Gravity is food
Techni-clay, wild yeasts, flower arrangements
Carlos Monleón
Life would, if it could, take all of the sun’s energy and turn it into itself
Wet plaster, netting, polyester resin, slip cast clay, residual wine
All works 2018
CONVERSATION: Fermentation
Fermentation and its manifold processes — an informal exchange and gathering on feminism, cooking and food practices, the microbiological…
On 21 July 2018 the exhibition was concluded with a conversation coordinated by curators Ida Bencke (co-founder of the Laboratory for Aesthetics and Ecology
- Joshua Evans – PhD student at the University of Oxford researching the flavour and evolution of microbes in novel fermentation practices;
- Adam Bencard (Medical Museion, University of Copenhagen) – a researcher and curator who has worked extensively on the history and philosophy of microbiome research, including co-curating the experimental exhibition Mind the Gut.
- David Zilber, Head of Fermentation at NOMA.
Mar 9–Apr 21, 2018
Artists: Michael Mørkholt
The exhibition Sol & Mani addresses tripping with and the staged display of physical phenomenon – as rotation, balance, spectral sound, colour separation and addition. The show brings together works, across photography, sound and installation, including:
4380 timer over Limfjorden (4380 hours over the Limfjord), 2016-17: a pinhole photograph, that has been exposed from winter to summer solstice, serves as a severely primitive document of cosmic planetary travel through space, time and light.
Kulørt og uroligt skyggespil (Colourful and unobtrusive shadow games), 2017-18: a three-dimensional generation of two-dimensional imagery – with additive colour synthesis, via sculptural blocking-off of a separated white (RGB) light.
Illusorisk udfasning og forstillet ligevægt (Illusory phasing out and deceptive equilibrium), 2018: a perpetually moving balancing-point between two linear, and directionally opposing, spectral audio signals.
Biography
Michael Mørkholt works in a variety of media. His practice is based on systematic formal associations, construction and retarded intuitive physical experimentation as a framework for an interdisciplinary synaesthetic production of imagery. Meticulously planned works resound and resonate with idiosyncratic logical criteria and circulate around generative algorithm, informative reduction and abstraction in a direct interaction between sound, image, technology and magic.
WATCH: Video of installation (03:38)
Feb 1–28, 2018
Artists:
Isabella Hemmersbach
Anna Clarisse Wæhrens
Ayse Dudu Tepe
Encompassing an inherent wish to please the surroundings and not to offend anyone, this phrase exposes the impossibility of its aim. When I read the phase, I think of the German phrase “You can visit me where the Sun Don’t Shine, and I don’t mean London”.
Yes, many people might love the sunshine, but the current trend to censor oneself and others to avoid offending anyone has taken new heights (I’m not necessarily against this, but I just want us to discuss). How do you control what associations the other party will have when you say something? When are you an asshole and when is the person requesting (self)censorship an asshole? And what is an asshole?
Google Images shows the range of associations such a simple word can trigger: from male personalities which have fallen in disrepute, to a sexual preference and tantra techniques, and commercial solutions to get a tan in places where the Sun (normally) Don’t Shine. While Instagram takes it’s famous approach to just censoring everything that might offend anyone with “#asshole 856.949 posts” but “no posts” to show.
Exploring the random associations to the asshole, from the asshole as a physical entity with limited capacity, to predatory men like Peter Aalbæk who act like assholes (or am I the assholes to name him by name), to the asshole as something, which has to be “fixed” through consumption or training; this show meta mirrors the exhibition series it is part of, which shows a variety of unrelated practices related connected through a common, physical setting. Ultimately it explores the fine line between a culture- and site-specific interpretation of a concept and the personal association and reaction to it. What do you think about the asshole?
By posing this question to Anna Clarisse Wæhrens and Ayse Dudu Tepe, Isabella Hemmersbach invited to a dialogue about the asshole across media, methodologies and mindsets.
— Isabella Hemmersbach
December 2017–January 2018
Artists: Martin Erik Andersen
Nov 1–25, 2017
Artists: Mette Rasmussen
Documentation of recordings: practice studio and garden, Trondheim, Norway, 9 October 2017.
Awake, 12 inch double-vinyl
each side 16 minutes 40 seconds
Recorded 9 October 2017, Trondheim, Norway.
Alto saxophone: Mette Rasmussen
Concept, Recording: Nick Garner
Mix: Chris Corsano
“There were five recordings, and we’re using the last four. They were recorded in sequence, with each responding to the one that came before. (So the first recording sets up the whole process.)
Each recording takes up one side of a 12-inch vinyl, four sides in total. The idea being that, across two records, the various different takes can be played in conversation with each other.
The first three recordings, including the initial take, were made in Mette’s practice studio, and the second two were made in the garden at Mette’s house.”
This project has been exhibited as a part of G((o))ng Tomorrow 2017, an annual festival of experimental music and sound art in Copenhagen; and assisted by the Danish Arts Foundation (Statens Kunstfond).
READ: review, from Seismograph.org
Performance Documentation:
Saturday November 4, 2017
Photos: Mette Sanggaard Dideriksen,
for G((o))ng Tomorrow 2017.
WATCH: Video of installation (01:28)
endobject (in between)
Oct 6–Nov 01, 2017
Artists: Kasper Lynge Jensen
UPSTAIRS
A.
bi-curious (samtaleværk)
serigrafisk tryk, jernstænger,
magneter og plante
bi-curious (conversation piece)
serigraphic print, iron bars,
magnets and plant.
B.
stedet i mellem (til Jacques Tati)
Serigrafisk tryk
the place between (for Jacques Tati)
Serigraphic print
C.
transformer
malet ler og jernstænger
transformer
Painted clay and iron bars
DOWNSTAIRS
D.
jordens sten (takeaway)
Tæppe, koldkatodelys, sten og trolley
the stone of the earth (takeaway)
carpet, cold cathode light, rock
and trolley
E.
hvad der holder det sammen
motionsredskab, sten og papkasse med
Oberon magasiner
what holds it together
exercise tool, stone, and cardboard
box with Oberon magazines
F.
slutobjekt (mellemrum)
hyldesystem, sten, beton, plexiglas. snor
og jernbeslag
endobject (in between)
shelf system, stone, concrete,
plexiglass, string and iron fitting