Haptic House at Horse and Pony Fine Arts / Berlin

Haptic House curated by Penny Rafferty


29 April – 10 June 2018 


Participating Artists: KATHY ACKER, JOSEFIN ARNELL, ZUZANNA CZEBATUL ,CLAUDE EIGAN, MONIKA GRABUSCHNIGG, GEOVANNA GONZALEZ ,ZSÓFIA KERESZTES, LECKHAUS, DENNIS LOESCH JAKE KENT, NURI KOERFER, FLORIAN OELLERS, ISAAC PENN, PRZEMEK PYSZCZEK, JACK SCHNEIDER, MAXIMILIAN SCHMOETZER, JONAS SCHOENEBERG, ALAN SONDHEIM, RAFAL ZAJKO 


Horse and Pony Fine Arts
Altenbrakerstraße 18
12053 Berlin


All images from Florian Oellers, Capturing Haptic House

 Dennis Loesch, THE FENDIMENTS, THE KENZOPREME


 Leckhaus, La Polizia. Styrofoam, papier-mâché, resin, car vanish, aluminum
sheet, bolts, nuts, chain, lace. 2018









 Isaac Penn, “It’s the Shoes that Talk.” Jacquard knit cotton, chains, key
ring. 2017

            Zuzanna Czebatul, Within Meadows And
Rolling Fields. Iron, steel, spray paint. 2016

 Jake Kent, Green Boot. Stoneware, candle. 2018



 Claude Eigan, After 6 protoform #8 : C’s edition. Ceramic plaster, wood,
electric cables, liquid plastic, pigments, steel, plexiglas. 2018



 Zsófia Keresztes, Mask of a drawn battle. Styrofoam, glass mosaic, thread, copper
pipe, grout. 2018   

Zuzanna Czebatul, Within Meadows
And Rolling Fields. Iron, steel, spray paint. 2016



 Przemek Pyszczek, Supreme
Krówki. Krówki candies in paper wrappers. 2018

            Zuzanna Czebatul, Within Meadows And
Rolling Fields. Iron, steel, spray paint. 2016



 Monika Grabuschnigg, You’ve
been everywhere but here. Glazed earthenware, platinum luster, glass,
acrylic, resin, epoxy putty, concrete and metal. 2017


 Nuri Koerfer, Worm of the
stones. Styrofoam, papier-mâché, resin. 2018



 Rafal Zajko, HandWorks
(RGB). Freehand-embroidery, steel , jesmonite. 2018



 Nuri Koerfer, Insel.
Styrofoam, papier-mâché, resin, car varnish. 2017



Monika Grabuschnigg, You’ve
been everywhere but here. Glazed earthenware, platinum luster, glass,
acrylic, resin, epoxy putty, concrete and metal. 2017

Claude Eigan, After 6 protoform #9 : Coffee break. Ceramic plaster, wood,
liquid plastic, pigments, coffee, steel, plexiglas. 2018

Claude Eigan, After 6 protoform #8 : C’s edition. Ceramic plaster, wood,
electric cables, liquid
plastic, pigments, steel, plexiglas. 2018

Maximilian Schmoetzer, Untitled (Medizini Poster Waldrappen). Laser Print.
2018



Jonas Schoeneberg, N0
H0RIZ0N (from the series Fireflies). Styrofoam, plaster, chalk, pigment,
varnish. 2018

Leckhaus, La Polizia. Styrofoam,
papier-mâché, resin, car vanish, aluminum sheet, bolts, nuts, chain, lace. 2018         



Isaac Penn, “It’s the Shoes
that Talk.” Jacquard knit cotton, chains, key ring. 2017


Claude Eigan, After 6 protoform #8 : C’s edition. Ceramic plaster,
wood, electric cables,  liquid
plastic, pigments, steel, plexiglas. 2018

Claude Eigan, After 6 protoform #9 : Coffee break. Ceramic plaster, wood,
liquid plastic, pigments, coffee, steel, plexiglas. 2018



Zsófia Keresztes, Mask of a
drawn battle. Styrofoam, glass mosaic, thread, copper pipe, grout. 2018



Jake Kent, Calendar for the year (2017, The Past). Stoneware, oil
pastel, watercolor, wood glue, plasticine, candles. 2018

Claude Eigan, After 6 protoform #8 : C’s edition. Ceramic plaster, wood,
electric cables,  liquid plastic,
pigments, steel, plexiglas. 2018



Maximilian Schmoetzer,
Untitled (Medizini Poster Waldrappen).
Laser Print.
2018



Haptic
House, installation view



Monika Grabuschnigg, So it is a lover who bubbles and who foams.
Clay, acrylic paint, resin, metal and pump station. 2017



GeoVanna Gonzalez, Keep down the blinds and
fold (Featuring Monika Grabuschnigg, Holder 14, Glazed
earthenware and resin). Site specific installation, mixed media with
sound. 2018



Nuri Koerfer, Over Spiralling. Styrofoam, papier-mâché, resin, car
vanish. 2017

Kathy Acker and Alan Sondheim, Blue Tapes. Single channel video with sound. 1972



Monika Grabuschnigg, So it is a lover who bubbles and who foams.
Clay, acrylic paint, resin, metal and pump station. 2017



Jake Kent, Calendar for the year (2018, The Present). Stoneware,
oil pastel, watercolor, wood glue, plasticine, candles. 2018



Rafal Zajko, HandWorks
(RGB). Freehand-embroidery, steel , jesmonite. 2018



GeoVanna Gonzalez, Keep down the blinds and
fold (Featuring 

Monika Grabuschnigg, Holder 14, Glazed
earthenware and resin). Site specific installation, mixed media with
sound. 2018



Kathy Acker and Alan Sondheim, Blue Tapes. Single channel video with sound. 1972



Jake Kent, All Plod is Twat. Stoneware, oil pastel, watercolor,
wood glue, fabric scraps. 2018



Josefin Arnell, Champs. Single channel
video with sound. 2018



Jake Kent. Cowboy (Stuffed Toy Prototype). Found glazed ceramic,
fabric scraps, cotton, duct tape, toilet paper. 2018



Przemek Pyszczek, Supreme
Krówki. Krówki candies in paper wrappers. 2018



Monika Grabuschnigg, So it is a lover who bubbles and who foams.
Clay, acrylic paint, resin, metal and pump station. 2017



Jack Schneider,
Altenbraker Str. 18, 12053 Berlin, Germany (Replica Habitat).
Acrylic, vinyl, recycled paper bedding, exercise wheel, water
bottle, U-turn tunnel. 2018



Haptic
House, installation view



Haptic
House, installation view



Jonas Schoeneberg, N0
H0RIZ0N (from the series Fireflies). Styrofoam, plaster, chalk, pigment, varnish. 2018
Leckhaus, La Polizia. Styrofoam,
papier-mâché, resin, car vanish, aluminum sheet, bolts, nuts, chain, lace. 2018         
Jake Kent, Calendar for the year (2019,The Future). Stoneware, oil
pastel, wood glue, gorilla glue, candles. 2018
Monika Grabuschnigg, So it is a lover who bubbles and who foams. Clay,
acrylic paint, resin, metal and pump station. 2017



I have tethered the bitter dream of you to a fat cell 
And walked around the block 
completely naked
Swan Meat , Render/Trigger (2016)


Ian Curtis danced live for four years to the rhythm of his own bodily hauntology, a
psychic scene that was composed of life beyond death via the frame of the stage.
Without those adoring fearful eyes his body would have been left – reduced to a
bedroom producer…but what is it about the bedroom that enables reverie over
product.


Haptic House acts as a facilitative landscape for the works on show to become
multi-functional, macro >< compact, and personalized versions specifically
designed for the viewers. Haptic House neglects the common compositional
gestures, rooted in the cannon of a formal art historical g(l)aze.


The House instead welcomes you into an emotive subjecthood, allowing you to feel free to morph your view, graft, sample and remix the infinitum scale of overproduction. Please scale-up your emotional content. Archive yourself
amongst these immortal, spacial beings – the exhibition, after all, is here to serve
you.


Haptic House explores the concept of muse viewing rather than the designed
gaze. Omitting the manners of the cube, in favour of becoming a radical
landscape.

Fragmented we stand… and…



Oh, it’s a lonely world, I know

Gon’ get a lonely girl, that’s fo’ sho’


Oh, I’m a lonely boy, she made a lonely boy, yeah, I know
Oh, it’s a lonely world, I know

Gon’ get a lonely girl, that’s fo’ sho’
Oh, I’m a lonely boy, she made a lonely boy, yeah, I know 

– Lil Peep, Cry Baby (1996-2017)