Submission
Group Show

(in)visible hearts

Rebekka Benzenberg, Emma Brunet, Alex Chalmers, Antonia Nannt, Hélène Padoux, Christin Rothe, Kim Schönauer


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(in)visible hearts, installation view 1
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(in)visible hearts, installation view 2
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(in)visible hearts, installation view 3
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(in)visible hearts, installation view 4
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(in)visible hearts, installation view 5
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(in)visible hearts, installation view 6
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(in)visible hearts, installation view 7
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(in)visible hearts, installation view 8
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Hélène Padoux, Trusting Sugar, 2020, acrylic and ink on denim, 130 × 125 cm
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Hélène Padoux, Care or Performance, 2020, acrylic and ink on denim, 135 × 130 cm
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Antonia Nannt, Knicker Curtains (a lady who shuns the light), 2021, sheet steel, steel, glass and tin, 85 × 80 × 40 cm
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Antonia Nannt, reality in a nice wrapper, 2021, sheet steel and copper enamel, 35 × 40 cm
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Antonia Nannt, Gingerbread Gem HQ, 2021, sheet steel, steel, glass and tin, 80 × 75 cm
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Alex Chalmers, double heart, 2021, silk screen on linen, 150 × 100 cm
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Kim Schönauer, Untitled (Position I), 2020, MDF timber, acrylic, beech plywood, 160 × 100 × 32 cm
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Rebekka Benzenberg, Maybe You Save Me, 2021, polyester resin and hair extensions, 30 × 92 cm
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Emma Brunet, Don’t speak about it with your friends, selection of 26 sketches produced between 2018 and 2021, 2021, pencil and pen on paper, 99 × 105 cm
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Christin Rothe, Christin’s Dior saddle bag, 2021, silicone, 30 × 30 × 5 cm
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Christin Rothe, Bodenbelag Atlantic Chip, 2021, PVC, 190 × 69 cm
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Christin Rothe, Collier 925, 2021, silicone, 25 × 20 cm

At a time when we have become so accustomed to the heart shape that we no longer notice it, the works gathered in the group exhibition (in)visible hearts materialize the symbol that’s used so frequently in the digital realm. By dealing with the heart aesthetically and contentwise, they make it visible again, thus allowing it to be viewed in isolation. The exhibited works treat the heart as mere form and ornament, as symbol and trace, as emoji and emblem of cuteness. They transfer it to canvas and mold it out of silicone, cast it in resin and mill it out of wood, laser cut it into metal and cut it out of PVC. They take the heart’s color and subtly refer to it, decorate it and dissolve it, put it in chains and secure it under glass. Their conscious and critical treatment of the heart contrasts with its random use in everyday life, liquefying our notions of the faded symbol.

(Excerpt from the intro text)