Lucky Capsule installation view 3
soup
Lucky Capsule installation view 4
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soup1
Lucky Capsule installation view 1
river

Lucky Capsule. 


Marie Kirkegaard Gallery 


August 20 – September 28, 2021



While the ongoing advances in technology is causing ecosystems around the globe to collapse, technology also brings hope of planetary survival – or at least survival of the human species - perhaps on other planets, or as files of human consciousness, uploaded into a digital dimension, which will make us eternally independent of our current, earth-bound bodies. Silas Inoue’s Lucky Capsule evolves around preservation of life in a world that is simultaneously marked by ecological crises and constantly accelerating technologies.


The largest room in the gallery is dedicated to SymbioSoup – Silas Inoue’s ongoing series of combined sculptural and performative works. The title points to the theory of Symbiogenesis, meaning coming into existence by living together, and referring to the crucial role, symbioses have played in early evolution. At the opening reception, Christer Bredgaard from the Copenhagen-based restaurants Il Buco and La Banchina will serve a soup. The guests will be encouraged to donate the remains of their soup bowl to a new sculpture in process. This way, the individual microbes of each guest will collectively form colonies of bacteria, viruses and fungi. Throughout the exhibition period the microbial landscape will be growing in unpredictably shapes and colors, surrounded by wall-mounted works from former, similar events.


SymbioSoup celebrates symbioses and togetherness across organisms. But the series also submits itself to current ecological crisis, such as the sixth mass extinction of species. New research reveals that this continuous extinction process also includes the vital microbes living in our bodies, and that we in the western world have lost 40% of the bacterial diversity, which exists in the human digestive system, compared to indigenous populations living cut off from modern civilization, whose microbiome protects them from lifestyle diseases such as type 2 diabetes, inflammatory bowel disease and food allergy. For that reason, a bacterial bank is being established, where different species of bacteria on the verge of extinction will be preserved for future generations.

While SymbioSoup is inspired by this particular idea of a Noah’s ark for microbes, and by the preservation of the highly developed microbial intelligence of the human body, Lucky Capsule also touch upon preservation of the more vague and controversial consciousness or soul.


When you enter the gallery, you set foot on the territory of three hollow, wooden sculptures. The sculptures look like enlarged amphibians; they lie around on banana leaves, where they appear to have been abandoned by the life that once inhabited them, like some sort of discarded sloughs. To discover their characters, you have to turn towards the clear mineral oil in an acrylic tank near the sculptures. The insides of a computer have sunken into the oil, while its accompanying disassembled flat-panel display reveals the new, animated life of the sculptures. Its possible to imagine how their consciousness have been digitalized and uploaded into a sort of virtual river, where they swim in a row upwards, in an ambivalent state of movement and stillness, euphoria and claustrophobia. The animation is a mix of hand-drawn sequences and analogue elements. Silas Inoue has panned a microscope over a surface of expanded polystyrene, exposing a lunar landscape-like structure of the material. The drawings are done in the old-fashioned frame-by-frame technique. The work is accompanied by an electronic piece of music, which can be accessed through a QR-code specially designed for the work. The piece is composed by sound- and video artist, Frederikke Krebs Bahn. The sculptures express themselves through its lyrics, written by author Sophia Handler.


The exhibition is supported by the Danish Arts Foundation and the funds set aside for artistic summer activities


Press: Idoart, kunsten.nu 

   



What is this place? You ask us. But have you ever asked that question to yourself? Yes, the body is a place, a home with its own smell, that you can’t smell. Squeaky sounds that seem to stem from ghosts of memories passing through. And stains ingrained of fluids, food and waste that make the density of you.

 

Humans tend to weigh themselves in new and costly things. It’s the reason why you cannot yet really swim. Your atmospheres of energy are thick with smog. It’s the reason why you can still see and feel and penetrate your skin. Mind and matter stick together in a magnetic field. It’s the reason why you think that loving someone else will make you heal. Do not fear drowning, or dissolving in this river. Fear to be the one who die of thirst. Of drying out, before you even get here.

 

The river leads up. We’re dancing in its waves of light, electricity and sound. The river leads down. We have no intimate parts left to show or hide from other souls around. The river overflows us with a different desire. Without a craving body, who can ever truly tell, if they have arrived?

 

This bodiless motion does not make any of us sick. It only makes us laugh from roller coastal content. Our former selves were used up, so we became more slick. Ready for the ultimate ascent. Our laughter makes no bubbles, since we’re laughing in our minds. We know that talking to yourself creates a perfect sound design. But like oil and disco music, these waters are created from machines. The river is downtempo, and the river is upbeat.

 

Scientists are on to us, like paparazzis, trying to make up a story, until they’re out of breath. We’re like the biggest artists, only celebrated after our death. But nobody can catch us, when we swim and dance and fly, like nobody can get a grip of what it really means to die.

 

The river has let us in. We belong to the opaque. The river will let us out. How wonderful to be beyond asleep and awake. But what kind of state does it require for your mind to be sustained? Without an aching body, who can ever truly feel contained?

 

We are the phantoms of your childhood toys, stuffed with love and desperation. Caught up in the ending of a fairytale with no remorse. Married happily ever after to a hardware multicorpse. We’re doomed to always be as thrilled as fireworks, the second they explode. And little black flies forever stuck in the eye of your microscope.

 

It’s time to lubricate your consciousness, to moisturize your soul. Loosen up and wiggle out, run away from home. Trust us, you can do what we’ve done so many times. Leave your body as the scrap it is, like we’ve left our sloughs behind.

 

The river has no surface. But we don’t worry how to stay afloat in its divine amniotic soup. The river has no corners. Yet we turn in an infinite loop. The river has no bottom. So don’t ask us what is up, or if we’re feeling down. If you ever see us cry, its from the joy of going around. From here, the laws of nature are too political to discuss. Like, are we inside the river, or is the river inside us?




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Composition and vocal by Frederikke Krebs Bahn

Text by Sophia Handler



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Pla¥


bronze, ⌀150 x d4,5 cm. 


Odense City Sculpture Triennial, 2021



A gigantic bronze coin stands upright, pressed into the grass and soil of the park – as if a giant had had the coin in its hand, and tried to stick it into the earth in a stupid attempt to give nature back its minerals – or as if the earth itself was a slot machine.

   The work touches upon different anthropogenic issues, such as the conversion of natural resources into profit, which won’t be able to be exchanged, as well as a societal and technological development whose only global concord seems to be growth.

   The front of the coin presents a sort of tree of life or fertility goddess with her head surrounded by different kinds of wildlife. Its erotic appearance reflects the comprehensive force of attraction in kingdom of plants and animals, as well as a human desire in the guise of a naked female body.

    Unlike the heteronormative view on gender and sexuality dominating most of society, wild nature makes up an endlessly broad spectrum for sex, gender, reproduction and symbiotic relationships, like the hermaphroditism of snails and plants, or the co-existence across different species such as lichen, which is a mix between fungi and algae.

   

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The back of the coin presents some kind of trickster – a dancing jellyfish with four eyes. According to the theory of The Rise of Slime (Jeremy Jackson, 2008), in the future, as a consequence of oxygen depletion, climate change, overfishing and pollution, it will only be the most primitive organisms, like jellyfish, algae and bacteria, who will be capable of living in the oceans.

   The extinction of the diverse marine life, that has emerged through many millions of years of evolution, will have fatal consequences for the life on earth, which is so deeply dependent of – and symbiotically connected with – the ecosystems of the sea.

   Thus, the two-parted shape of the work contains different narratives. On one side, it contemplates being viewed in the shadow of human actions. On the other side, it can be viewed as a kind of tree of life, in a mythological as well as a biological sense. Furthermore, the coin appeals to something semiotically incorporated in modern human beings – a sort of archetypical symbol of wealth, luck, or growth, to which the opportunistic part of consciousness is automatically drawn. Like that, the coin in its gigantic shape can be seen as a materialization of human desire, and a symbolic redistribution of this vital force, down into the earth and out in the planetary.  


Pla¥ has been realized with support from the Danish Arts Foundation and Grosserer L.F. Foghts Fond


Press: Weekendavisen

 

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3reproduction
4reproduction
11reproduction
13re.prʘductiʘn
15re.prʘductiʘn
20re.prʘductiʘn

re:prʘductiʘn looks into natural processes, like sex, reproduction and symbiosis, from both a human and non-human perspective.

 

On the roof of an old cooling tower, a neon sign with bright colors signifies that the building has been given a new life. The sign is inspired by various species of lichen – a composite organism made up of fungi living in a symbiotic relationship with algae. 

 

The discovery of how lichen is composed of both mushroom and algae (Simon Schwendener 1867) led to the term symbiosis (Albert Frank 1877). 

 

While algae draw energy from sunlight (photosynthesis), mushroom feeds on other organisms (living or dead), and is taxonomically more comparable to animals than plants. With lichen covering 7-8 % of the planet’s surface, it’s a most common and evident example of symbiosis between species of radical different natures. 

 

The neon sign atop of the building attempts to give these exemplary organisms attention, at the same time it alludes to sex shops and advertisements found in major cities. 

 

The inside of the cooling tower can be viewed through peepholes in the walls. In there, wooden sculptures, depicting overgrown amphibians, dwell in the mud. Like the building itself, the sculptures are being eaten by organisms transforming dead material into new growth. Different species of fungi grow out of the sculptures. The fungi are kept damp by steam, billowing from a plateau in the middle of the room. On top of the plateau lies a flower made of sugar and isomalt. Like the stamens of real flowers, the sculpture attracts various insects, but in contrast to the pollination, which typically takes place between flowers and bees, the sculpture makes no contribution to reproduction in nature. On the contrary, it acts as a kind of false nectar, that robs nature’s real flowers of the possibility of being pollinated, since the insects will be more attracted to the artificial sugar flower. 

 

During the exhibition period, re:prʘductiʘn will become a breeding ground for non-human life forms and human fantasies alike.

 

 

re:prʘductiʘn is supportet by the Danish Arts Foundation.

 

re:prʘductiʘn is part of the group show ‘Bubbles – an art route through the city’, with studio collective 51cth, organized by Museum of Contemporary Art, Roskilde.


Press: Ofluxo, Tzvetnik

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re:prʘductiʘn, work proces and thoughts 


Video: Troels Kahl · Editing: Troels Kahl + Anders Obbekjær


re:prʘductiʘn is part of the group show Bubbles, with 51cth and Museum of Contemporary art, May 2021


(re)prʘductiʘn is supportet by the Danish Arts Foundation

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Klubben

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 contribution for Texted (Danish)

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1lym
5lym
7lym
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14lym
17lym


Love Your Monsters

Shabu Shabu (Anders Brinch & Silas Inoue).
Marie Kirkegaard Gallery - April 9 through May 15  2021.


Marie Kirkegaard is pleased to welcoming you to the exhibition Love Your Monsters by Shabu Shabu, the artist duo Silas Inoue and Anders Brinch. Love Your Monsters is an ambitious exhibition project first presented at Store Tårn on Christiansø in June-October 2020. Now the exhibition has finally been new-installed, translated and transformed to our gallery space.
 
                                                                                Text by Nanna Stjernholm

A strange world of monstrous creatures and willful technologies emerges and takes over the gallery space converting it into an otherworldly ecosystem. A lush canopy of long strings of handmade ceramic beads hang from the ceiling like outstretched, mutated DNA strings. The spherical shape of the ceramic beads multiplies itself throughout the exhibition in a myriad of acrylic globes. The transparent spheres are almost like micro-versions of the exhibition itself: Small universes wrapped in dew drops or in cell-like bubbles, populated by tiny creatures, plastic fragments and plant parts in multiple sealed microcosms.        

Love Your Monsters is an expedition into a mutated wilderness, both ancient and futuristic, where monsters and humans are not opposites. Rather, they both grow out of the same caring and attentive scenario, which spreads across the gallery.
 
Almost like small planets or satellites – or even escape pods from space ships – these spheres are suspended in the gallery room as part of the intricate network made up of the strings of pearls and the many wires connecting all the works in the exhibition. Together they form a chaotic grid structure in which all entities of the exhibition – terrestrial as well as extra-terrestrial, biological as well as technological, organisms as well as ideas – are intertwined, part of one polyphonic whole.
 
The exhibition draws its title from the 2012 essay Love Your Monsters by French philosopher Bruno Latour. He views Mary Shelley's classic gothic novel Frankenstein (1818) as an image of one of the biggest flaws of modern human society: We have not been able to give proper care or attention to our own technological inventions. The problem is not Dr. Frankenstein's monster itself. Rather, it is the doctor's lack of caring for his creature, which has ostracised it from society thus making it a monster in the first place. In the exhibition the boundaries between manmade culture and what we conventionally call nature, collapse and show us that nature contains culture just as culture contains nature.
 
Love Your Monsters imagines a world where humans, nature and technology nurtures each other and coexists in ecosystems yet unknown to us; where robots mix with giant humanoid jellyfish and hundreds of growths and life forms as a reminder of the monstrous that lives within us. The exhibition is an echo from the future, but whether its message is one of hopeful prosperity or a vaguely apocalyptic chaos remains uncertain.
 
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Love Your Monsters is the fourth exhibition where Anders Brinch (b. 1971) and Silas Inoue (b. 1981) collaborate under the name Shabu Shabu, which is also the name of a traditional Japanese fondue dish – a social dish where you combine, cook and eat the food together. The idea behind Shabu Shabu is that of an artistic” hotpot” – a platform where various ideas and experiments are tried out in different locations and constellation. The realization of the exhibition project in Store Tårn on Christiansø has been made with the generous support from Statens Kunstfond, Statens Værksteder, Sparekassen Bornholms Fond and Christiansø Administration.


2018 - 2019 - 2020