Weathering: Tidal Spill (day 331)

Isabelle Andriessen with a collaboration from Ida Marie Hede

Curated by Miriam Wistreich

3 May - 15 June, 2019


Image: Isabelle Andriessen, Tidal Spill, 2019. Photo courtesy of the artist.


SixtyEight Art Institute warmly invites you to our next exhibition Weathering: Tidal Spill (day 331) featuring artworks by the Dutch artist Isabelle Andriessen and a collaboration with the Danish author Ida Marie Hede . This exhibition and knowledge-making project aims to engage with questions of human embodiment in times of climate change. The project is organized by SixtyEight Art Institute and the Danish curator Miriam Wistreich from the Laboratory for Aesthetics and Ecology.

Opening Friday - 3 May, 18:00-21:00
Gothersgade 167, Kbh K

As we stumble through an era of planetary-wide changes, talking about the weather becomes more than simply small talk. The weather affects us: the sun brings out freckles on our noses and cancer in our skin, and regulates our production of Vitamin D. Snow and sleet keep us indoors, directly impacting our social lives and communities. Droughts are putting pressure on the earth’s resources, claiming human and animal lives, while rising water levels provoke migration between continents. Climate change forces us to reconsider the boundaries between humanity and our surrounding habitat, and the weather offers a formula to think through questions of time, space and human subjectivity under siege.

Weathering: Tidal Spill (day 331) presents an exhibition by Isabelle Andriessen, and a discursive programme exploring the body as an interface between human subjectivity and the changing climate, led by Ida Marie Hede and Miriam Wistreich. Andriessen’s time-based sculptures begin to develop from the moment the materials are activated, continuing their process over the course of the exhibition and after. In the exhibition, the sculptures form a grim, speculative landscape in which these zombie materials continue their planned performance. The sculptures contain a chemical solution that is absorbed by the ceramic skin, causing them to develop crystals, grow rash-like fur and simulate symptoms of metabolism and disease. Andriessen questions notions of living and non-living states by animating inanimate materials, working between the fields of chemistry, physics and philosophy. Living both parasitically and in symbiosis, her work offers a glimpse into an infectious and uncanny ecosphere.

As part of the discursive programme, author Ida Marie Hede and curator Miriam Wistreich will host Weather Writing Workshops, based on methods from écriture feminine, eco feminism and posthuman theory. The workshops invite participants to write their weathered bodies in order to build a more dense understanding of the co-constitutions of human and climactic natures. The workshops will channel the weather through our human bodies and stimulate our meteorological imaginaries and understandings of human-weather interrelations. By asking “Where is the weather? What does the weather remember? What does it forget?” Weathering: Tidal Spill (day 331) forms a speculative investigation into how we can think about relating to the objects and systems around us.

Weathering: Tidal Spill (day 331), curated by Miriam Wistreich, is part of SixtyEight Art Institute's aim to offer creators in various fields the opportunity to generate complex exhibition environments that touch on literary, artistic and curatorial research, in the context of warming world changes.


Bios

Ida Marie Hede is a writer and educator. She holds an MA in Art History from the University of Copenhagen as well as a degree in Visual Cultures from Goldsmiths. She graduated from Forfatterskolen in 2008. Hede has published seven books, most recently En to tre (2016) and Bedårende (2017), which was nominated for 'Kritikerprisen' (The Danish Critics' Award). Her writing practice involves multiple cross-disciplinary publications and collaborations, among others with visual artists Nanna Debois Buhl og Ursula Nistrup. Hede is a critic at the Danish newspaper Dagbladet Information and has previously received the prestigious three-year work grant from the Danish Arts Foundation.

Isabelle Andriessen was educated at Gerrit Rietveld Academy and Malmö Art Academy. She is based in Amsterdam, where she participated in the Arts & Science Honours Program of the KNAW Royal Dutch Academy of Science and Academy of Arts, and recently finished an artist-in residence at Rijksakademie van Beeldende Kunsten. Her work has been shown at Hotel Maria Kapel in Hoorn, NL, Galleri Nicolai Wallner in Copenhagen, Lafayette Anticipations, Paris and Stedelijk Museum Amsterdam. In 2019 she will participate in the 15th Lyon Biennale, Lyon, curated by the team of Palais de Tokyo.

Miriam Wistreich is a curator, educator, writer and researcher. She holds a BA in Art History from the University of Copenhagen, an MA in Interactive Media: Critical Theory and Practice from Goldsmiths and is an alumni of De Appel Curatorial Programme. Her interests revolve around embodiment, both human and non-human, and the ways in which subjectivity is formed and negotiated within neoliberalism. With the Laboratory of Aesthetics and Ecology she has co-translated and published texts by Donna Haraway and Astrida Neimanis. She has previously curated talks, exhibitions and workshops at NLH Space, C4 Projects and The Royal Danish Academy of Fine Arts, DK, and De Appel, Stedelijk Museum Amsterdam, Sandberg Instituut, NL.

Laboratory for Aesthetics and Ecology is a curatorial platform concerned with questions of global multispecies suffering. The Laboratory works with experimental exhibition formats and knowledge productions in the knotty entanglements between the human and the non-human, between the arts and the sciences, guided by queer ecologies, multispecies storytelling and ecofeminist strategies – be they artistic, theoretical, scientific or everything at once. The Laboratory runs a micro publishing house and has curated exhibitions, symposia, events and more on boats and beaches and in museums and greenhouses across the world.


The exhibition has received support from Grosserer L. F. Foghts Fond.