A pudding that endless screw agglomerates
Tomek Baran, Pauline Beaudemont, Nicolas Deshayes
Opening: 04.02.2016 7 pm at the Polish Institute Berlin
Exhibition until 02.04.2016
Curated by Eva Wilson
The title of the exhibition at the Polish Institute, A pudding that endless screw agglomerates, is borrowed from a sketchy translation of the script of Alain Resnais’ film Le chant du styrène (1958) which also lends its title to one of the works in the show. This film, with its voice-over of Alexandrian verses written by Raymond Queneau, describes the magically alchemical, and simultaneously ultra-modern industrial production of plastic.
The artists Tomek Baran, Pauline Beaudemont and Nicolas Deshayes in turn make use of industrial and synthetic substances.
Although the works’ materials – brass, enamel, and endlessly mouldable polyurethane – offer especially
resilient surfaces, their forms simultaneously appear as entrails, cavities and habitats. The three artists are concerned with aspects of interiorisation and externalisation, digestion and transformation. Rough translations of text (as in the title) and matter, alloy, smelter, and vacuum forming shape and fabricate the exhibition.
To mis-quote Queneau once again: “O time, suspend your bowel, O plastic.”
05.02.2016 7 pm
Molten Means
Performance at the Studiolo of the KW Institute for Contemporary Art
Auguststr. 69, 10117 Berlin
One night after the opening, Molten Means at the KW Institute for Contemporary Art devotes itself
to melting points and morphologies: the artists Tomek Baran, Pauline Beaudemont, Charlotte Herzig
and Vanessa Safavi juggle the aggregate states of metals, synthetics and hard liquors in the manner of
a ritual as well as material study. With screenings of films by Pauline Beaudemont, Alain Resnais and
Richard Serra.
Exhibition supported by Pro Helvetia, the Swiss Arts Council, the British Council Berlin, Visual Arts Department at the Institut Francais and the French Ministry of Culture & Communication.