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BlueMajik / L'Atelier-ksr, Berlin


BlueMajik

Neïl Beloufa, Julie Grosche, Clémence de La Tour du Pin, Hanne Lippard, 
Adrien Missika, Antoine Renard, Anthony Salvador, Santiago Taccetti, and Tore Wallert 

Written contribution by Dorota Gaweda & Egle Kulbokaite

26. April - 27. June 2015
Performance - 17. June 2015 (Hanne Lippard, Caique Tizzi) 
Artists’ Talk - 24. June 2015

L'Atelier-ksr

Grossbeerenstr. 34, 
10965 Berlin - Kreuzberg

BlueMajik, Installation Shot, L'Atelier-ksr

TORE WALLERT
Sponsored by Destiny, 2015
Plastic, epoxy, resin, fiberglass, permanent ink, ratchet straps, laser printed plastic sheet, cardboard, polyester fabrics, wood glue 



BlueMajik, Installation Shot, L'Atelier-ksr

BlueMajik, Installation Shot, L'Atelier-ksr

CLEMENCE DE LA TOUR DU PIN
Ai now have interesting people to meet, they have financial freedom so
Ai aren’t concerned about relationships breaking down. Ai have business travel
, 2015 Digital print, Agatha 1.2.0.1 blend on steel plate
180 x 130 cm 

CLEMENCE DE LA TOUR DU PINCrimsonBlood, 2015 (detail)
Digital print (chapter.2 ygrg#71_Hilton), Jeff blend on steel plate 180 x 130 cm
Jeff, 2015 Artificial Tears, JEFF 10% (Carlos Benaim), Tillandsia, daisy flowers, detergent, IPL Gel, dirty water, methyl cellulose. 


CLEMENCE DE LA TOUR DU PIN
CrimsonBlood, 2015
Digital print (chapter.2 ygrg#71_Hilton), Jeff blend on steel plate 180 x 130 cm
Jeff, 2015 Artificial Tears, JEFF 10% (Carlos Benaim), Tillandsia, daisy flowers, detergent, IPL Gel, dirty water, methyl cellulose. 

ANTOINE RENARD
Untitled_2, _3 (Vase Of Flower), 2015
Common Attribution Licence 3D model (CNC cut), styrofoam, epoxy resin and aceton. 45 x 45 x 45 cm 

ANTOINE RENARD
Untitled_2, _3 (Vase Of Flower), 2015
Common Attribution Licence 3D model (CNC cut), styrofoam, epoxy resin and aceton. 45 x 45 x 45 cm 

ANTHONY SALVADOR
ZWEI JUNGS IM BENZ, 2015 
PVC print, tire, aluminum profiles 250 x 150 x 75 cm 

SANTIAGO TACCETTI
The Secret Life of Our Prostheses, 2015
Metal, Wood, Humidifiers, Steinputz, Water, Soylent Green 

SANTIAGO TACCETTI
The Secret Life of Our Prostheses, 2015 (detail)
Metal, Wood, Humidifiers, Steinputz, Water, Soylent Green 
ADRIEN MISSIKA
Here is shot through with there, 2015
Turkish travertin stone (red), Berlin algae, spirulina, duck tape 66 x 45 x 3 cm 

NEÏL BELOUFA
La domination du monde (screen shots), 2012 
Video, 27’32’’ 

HANNE LIPPARD
Sanctuary I-IV, 2013
Digital print on metallic paper 42 x 59.4 cm
Edition of 3 

JULIE GROSCHE 
Zen out, 2015
 Floor graphic decal 300 x 250 cm Edition of 3 

JULIE GROSCHE 
Zen out, 2015
 Floor graphic decal 300 x 250 cm Edition of 3 



Blue Majik is a certified organic extract. The color of this blue-green algae is so stunning, unreal. The exhibition intends to sense the confusion and the ongoing dissolution of the synthetic and organic, emphasizing the total collapse of environmental stability as well as the infinite possibilities being charted in our time - the artificial translation of nature, and its potential adaptation to these unnatural structures. 



for a future V: I’m in a soup 

She’s in the soup. A Protoctist Naiad of Klamath Lake, dressed in a broth of post-terrestrial out- fits. Inhaling with the skin, perceiving the world with her whole bodies, she grows plant-like. Her aqua-botanical environment is distinct from the purported stability of the soil, in which most other plants are rooted. She calls it a hypersea, a postmordial sea of countless and interconnected con- duits. She assumes and entails an evolution or a transformation of forms, of the relations of matter and form and of the interval between. Herself sipping, dripping, expiring the liquids. An osmosis of blue magic. She is composed of evolutionary stratified and stratifying assemblages of desire. Once, she has a body of a fish or a frog that reacts to ee2 as if it were a natural estrogen. Induced with an agar-based growth medium she is creating an optimal condition for abstract sex. She em- braces the liquid, the mutable, the ever-flowing weavings through ourselves, running rings around each other. The dead cells of the uterine lining flow through her vagina. The deciduous trees and shrubs of the NTZone, rows of cells at the base of the leaf stem die. She has no definition, no meaning, no way of telling each other apart – cut from the running flow of life demanding taking a line of flight towards destratification – a felt experience of change on a nature-culture continuum. More than half of you consists of her. LIFE itself is the body running out of her. Blooms turn the water an opaque foul green. Underwater Nymphaea of dirt, she assumes the language of stones. She requires a change in perception and conception of space-time, the inhabiting of places, and of containers, reservoirs, caldera lakes or envelopes of identity. She is a leader of this LIFE, an extremophile that could survive the low-oxygen, low-pressure, and high-radiation conditions of outer space. She knows that a truly liberatory being would seek to deconstruct the enforced link- ages between biological sex, performative gender, and heterosexual desire. She resonates with a future and a past, porous to ancient Greek mythology, where the fear of ocean and the body of the unknown are linked to water and madness. Semi-permeable folds and foldings, plying and multi- plying, plicating and replicating. Within the ambience of heat, a predator attacks and poison gas eruptions. In this soup, she remains eternally young. 
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Post-CRASH scenario with: bobtail squid, Donna Haraway, Luce Irigaray, Lynn Margulis, Dianna McMenamin, Luciana Parisi, Sadie PlantWetwareWired. 

Text by Dorota Gaweda and Egle Kulbokaite 


* All images are courtesy of L'Atelier-ksr
  Credits: Hans-Georg Gaul