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Love Your Monsters - Shabu Shabu w. Anders Brinch · Store Tårn, Christiansø, 2020

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Love Your Monsters - Shabu Shabu w. Anders Brinch · Store Tårn, Christiansø, 2020

Love Your Monsters


I et fyrtårn, en del af en gammel søfæstning på den alleryderste kant af Danmark, vokser en sær verden frem, fuld af monstrøse skabninger, egenrådig teknologi og utæmmede planter, der spirer vildt og forgrener sig ud i det runde rum. Love Your Monsters er en opdagelsesrejse ind i en muteret natur, en postapokalypse, hvor monster og menneske ikke er hinandens modsætninger. Udstillingen er lavet af kunstnerduoen Shabu Shabu, der består af Anders Brinch og Silas Inoue, som sammen har skabt en totalinstallation, der gror frem som et omsorgsfuldt fremtidsscenarie i udstillingslokalet i Store Tårn på Christiansø.

Udstillingens titel er hentet fra den franske filosof Bruno Latours essay Love Your Monsters (2012), hvor han ser Mary Shellys gotiske klassiker Frankenstein som et billede på det moderne menneskes største fejltagelse: at vi ikke har forstået at drage en opmærksom omsorg for vores teknologiske frembringelser. Det er ikke Dr. Frankensteins monster i sig selv, der er problemet – men derimod doktorens manglende omsorg for sin skabning, der udgrænser den fra samfundet og overhovedet gør den til et monster. Bruno Latour afviser myten om, at mennesket kan adskille sig fra naturen gennem teknologi og hævder i stedet, at vi bliver draget mere og mere ind i de økosystemer, der understøtter os. Men sammenblandingen af natur og teknologi er ikke noget dårligt, måske snarere noget vi bør dyrke og respektere. Når vi udforsker det ukendte, skriver Latour, må vi hele tiden forvente det uventede.


Love Your Monsters er en forestilling om en verden, hvor menneske, natur og teknologi nærer hinanden og sameksisterer i endnu ukendte økosystemer. Her blander robotter sig med menneskelignende kæmpegopler og hundredvis af vækster, der for en stund har taget bolig i Store Tårn på Christiansø – som en påmindelse om, at det monstrøse lever i os selv.

Dette er tredje udstilling hvor Anders Brinch & Silas Inoue samarbejder under navnet Shabu Shabu, der også er navnet på en traditionel japansk fondueret – en social ret som man sammensætter, tilbereder og spiser sammen. Ideen med Shabu Shabu er netop en form for kunstnerisk ”hotpot” – en ikke- fastdefineret platform, hvor forskellige ideer og eksperimenter kan afprøves i skiftende lokaliteter og konstellationer af udstillinger.


Udstillingen er støttet af: Statens Kunstfond, Statens Værksteder for Kunst, Sparekassen Bornholms Fond


Tekst af: Nanna Stjernholm.

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l∞p, Installation view, Tableau Copenhagen, 2020

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l∞p, Installation view, Tableau Copenhagen, 2020

World Pop Drummer, 2017, (animated by Ben Wheele) in stainless steel frame, 125 x 73 x 15 cm. 2020

Forever Friture, computer merged in friture oil, (animated by Ben Wheele), 2019

l∞p


Silas Inoue´s exhibition l∞p at TABLEAU presents a sticky, yet mesmerizing aesthetic of immortality, situated in an undetermined stage between biology, technology and religion.

 

For a long time, the idea of immortality has occupied man – ever since the earliest religions, to the present day, where rapidly growing technologies make prospects of eternal life seem plausible. Influenced by our yearnings and fears of the infinite, the exhibition wavers between bliss and existential claustrophobia. Sugar-made organisms as well as disassembled computers are sunken into cooking oil, and animated deities intertwine with TABLEAU’s ritualistic flower arrangements, specifically made for the exhibition.

 

TABLEAU and Silas Inoue both incorporate in their work the concept of life and growing organisms. Working with flowers is ephemeral while Inoue’s focuses on the concept of immortality. In that way, the artist’s work and TABLEAU’s universe resonate.


Inoue’s Future Friture series depicts enlarged miniature organisms such as the freshwater Cnidarian ‘Hydra’ and the jellyfish ‘Turritopsis dohrnii’. While the first inhabits temperate and tropical regions over the world, the second lives in the Mediterranean and Japanese sea. In nature, these organisms have a rather special life cycle; they revert into an immature state only to grow old again later on in a continuous process. This alternation between old and young is making them somehow immortal – a phenomenon which for long has occupied researchers in the field of regeneration studies.

 

In the video work World Pop Drummer, a demonic creature is beating the drum in an irregular rhythm. The animation is WiFi-connected, and the rhythm is actually based on a statistical estimate of the increasing world population, calculated by deducting the birthrate from the significantly lower death rate. This means that every drumbeat represents an additional human life on the planet. Thus, the work draws rhythmic attention to a rapidly growing world population, and a resource scarcity that opposes the individual's desire for immortality.

 

It is speculated that, sometime in the future, eternal life can be achieved in a virtual world by uploading the consciousness into the cloud. The video work Forever Friture animates such a digital afterlife. A disassembled computer sunken into cooking oil (similar to the technology used by datacenters to save energy) is used as media player for an eternal upward movement into the skies, referencing both religious ideas of the afterlife and cloud computing.


The concept of l∞p is according to Inoue “like a snake eating its own tail – a fantasy of self-preservation in the age of ecological collapse and pending catastrophes.” 


The exhibition is supported by: Grosserer L.F. Foghts Fond, The Danish Arts Foundation, and The Council for Visual Artists for the City of Copenhagen