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
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
And Rolling Fields. Iron, steel, spray paint. 2016
Przemek Pyszczek, Supreme
Krówki. Krówki candies in paper wrappers. 2018
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
H0RIZ0N (from the series Fireflies). Styrofoam, plaster, chalk, pigment, varnish. 2018
papier-mâché, resin, car vanish, aluminum sheet, bolts, nuts, chain, lace. 2018
pastel, wood glue, gorilla glue, candles. 2018
acrylic paint, resin, metal and pump station. 2017
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.
Oh, it’s a lonely world, I know