Sarah Hermanutz
Alanna Lynch
Opening: Friday, 23 March, 2018 / 8pm
24 March - 13 May, 2018
Fri - Sun, 2-6 pm and by appointment (closed Easter Weekend 30 March-1 April)
Artist Talk with both artists: 25 March 2018 / 3pmThe project follows an open framework in showing the ongoing artistic research of two emerging artists in the field of art & science. Taking all things fluid as a starting point, the work of Sarah Hermanutz and Alanna Lynch covers themes such as amphibians, bodily borders, boundaries, marginalisation, materialism, seepage, sensory and wetlands through performance, installations, multimedia and living artworks. In addition to object and action, this project also invites the public to become engaged with the matter in manifold ways.
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| Exhibition view Viscous Bodies, Sarah Hermanutz & Alanna Lynch |
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Live Decomposition,2017-18, Sarah Hermanutz, Nenad Popov |
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| Fermenting Feelings, 2018, Alanna Lynch |
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| Potentials, 2015-16, Alanna Lynch |
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| Right: Inside Bodies, 2016, Sarah Hermanutz, Paula Montecinos and Nayeli Vega, center: Gut feeling, 2016-18, Alanna Lynch, Left: Salamander Mourning Veil, 2008/9 Sarah Hermanutz |
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| Salamander Mourning Veil, 2008/09, Sarah Hermanutz |
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| Alanna Lynch & Sarah Hermanutz |
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| Left: Concealed and Contained, 2009-18, Alanna Lynch, right: Inside Bodies, 2016, Sarah Hermanutz, Paula Montecinos and Nayeli Vega |
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| Viscous Bodies, Vernissage, 23 March, 2018 |
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| Viscous Bodies, Vernissage, 23 March, 2018 |
Alanna Lynch works with living organisms, biological materials and performance, examining the politics of affect and questions of agency. She explores the aesthetics of disgust and fear, with a focus on embodied knowledge and non-conscious forces. In her project Potentials Lynch cultivated colonies of fruit flies, Drosophila melanogaster, through their whole lifecycle, making use of microscopic photography and performative display, confronting the visitor with containers of flies in a research-like setting. This evoked reactions ranging from curiosity to disgust. Her performances often explore bodies and identity as something complex and indefinable; both made up of ever more dividable parts of matter. For the performance Concealed and Contained she collected her own hair over many years and crocheted it into an ever-growing container which now covers her head and shoulders. In performance she stands naked, except for the self-made form of concealment which she then works upon: crocheting a continual work-in-progress.
Sarah Hermanutz researches the intersections of performance, technology, and ecology. Her sculptures, installations and performances are preoccupied with wetlands, amphibious creatures, gender and social cognition. Live Decomposition, an ongoing collaboration with sound artist Nenad Popov, was performed last year in Lisbon and Berlin. Video documents Hermanutz's hands as they work through an aquarium filled with mud, sand, living and dead wetland organisms, and other collected material. The artist has a keen interest in amphibians - both as organism and as metaphor. In Inside Bodies an axolotl in a jar becomes a point for human/nonhuman contact. Her work Salamander Mourning Veil, which includes drawings, photographs and performance, is an artist statement on both the mass extinction of amphibians and the degradation of wetlands, a melancholy act of caring and empathy in the spirit of Haraway's 'staying with the trouble'.
The exhibition project examines the aesthetics of viscosity. The two artists will also collaborate on an installation, which will form an interconnecting system of liquids, living materials, organisms and technology and encompass the common themes of their work.
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| Artists' Talk , Viscous Bodies, 25 March, 2018 |
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| Artists' Talk , Viscous Bodies, 25 March, 2018 |
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| Artists' Talk , Viscous Bodies, 25 March, 2018 |
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