Haptic House at Horse and Pony Fine Arts / Berlin

Haptic House curated by Penny Rafferty

29 April - 10 June 2018 

Participating Artists: KATHY ACKER, JOSEFIN ARNELL, ZUZANNA CZEBATUL ,CLAUDE EIGAN, MONIKA GRABUSCHNIGG, GEOVANNA GONZALEZ ,ZSÓFIA KERESZTES, LECKHAUS, DENNIS LOESCH JAKE KENT, NURI KOERFER, FLORIAN OELLERS, ISAAC PENN, PRZEMEK PYSZCZEK, JACK SCHNEIDER, MAXIMILIAN SCHMOETZER, JONAS SCHOENEBERG, ALAN SONDHEIM, RAFAL ZAJKO 

Horse and Pony Fine Arts
Altenbrakerstraße 18
12053 Berlin

All images from Florian Oellers, Capturing Haptic House

 Dennis Loesch, THE FENDIMENTS, THE KENZOPREME

 Leckhaus, La Polizia. Styrofoam, papier-mâché, resin, car vanish, aluminum sheet, bolts, nuts, chain, lace. 2018

 Isaac Penn, “It’s the Shoes that Talk.” Jacquard knit cotton, chains, key ring. 2017

            Zuzanna Czebatul, Within Meadows And Rolling Fields. Iron, steel, spray paint. 2016

 Jake Kent, Green Boot. Stoneware, candle. 2018

 Claude Eigan, After 6 protoform #8 : C’s edition. Ceramic plaster, wood, electric cables, liquid plastic, pigments, steel, plexiglas. 2018

 Zsófia Keresztes, Mask of a drawn battle. Styrofoam, glass mosaic, thread, copper pipe, grout. 2018   

Zuzanna Czebatul, Within Meadows And Rolling Fields. Iron, steel, spray paint. 2016

 Przemek Pyszczek, Supreme Krówki. Krówki candies in paper wrappers. 2018

            Zuzanna Czebatul, Within Meadows And Rolling Fields. Iron, steel, spray paint. 2016

 Monika Grabuschnigg, You’ve been everywhere but here. Glazed earthenware, platinum luster, glass, acrylic, resin, epoxy putty, concrete and metal. 2017

 Nuri Koerfer, Worm of the stones. Styrofoam, papier-mâché, resin. 2018

 Rafal Zajko, HandWorks (RGB). Freehand-embroidery, steel , jesmonite. 2018

 Nuri Koerfer, Insel. Styrofoam, papier-mâché, resin, car varnish. 2017

Monika Grabuschnigg, You’ve been everywhere but here. Glazed earthenware, platinum luster, glass, acrylic, resin, epoxy putty, concrete and metal. 2017
Claude Eigan, After 6 protoform #9 : Coffee break. Ceramic plaster, wood, liquid plastic, pigments, coffee, steel, plexiglas. 2018
Claude Eigan, After 6 protoform #8 : C’s edition. Ceramic plaster, wood, electric cables, liquid plastic, pigments, steel, plexiglas. 2018
Maximilian Schmoetzer, Untitled (Medizini Poster Waldrappen). Laser Print. 2018

Jonas Schoeneberg, N0 H0RIZ0N (from the series Fireflies). Styrofoam, plaster, chalk, pigment, varnish. 2018
Leckhaus, La Polizia. Styrofoam, papier-mâché, resin, car vanish, aluminum sheet, bolts, nuts, chain, lace. 2018         

Isaac Penn, “It’s the Shoes that Talk.” Jacquard knit cotton, chains, key ring. 2017

Claude Eigan, After 6 protoform #8 : C’s edition. Ceramic plaster, wood, electric cables,  liquid plastic, pigments, steel, plexiglas. 2018
Claude Eigan, After 6 protoform #9 : Coffee break. Ceramic plaster, wood, liquid plastic, pigments, coffee, steel, plexiglas. 2018

Zsófia Keresztes, Mask of a drawn battle. Styrofoam, glass mosaic, thread, copper pipe, grout. 2018

Jake Kent, Calendar for the year (2017, The Past). Stoneware, oil pastel, watercolor, wood glue, plasticine, candles. 2018
Claude Eigan, After 6 protoform #8 : C’s edition. Ceramic plaster, wood, electric cables,  liquid plastic, pigments, steel, plexiglas. 2018

Maximilian Schmoetzer, Untitled (Medizini Poster Waldrappen). Laser Print. 2018

Haptic House, installation view

Monika Grabuschnigg, So it is a lover who bubbles and who foams. Clay, acrylic paint, resin, metal and pump station. 2017

GeoVanna Gonzalez, Keep down the blinds and fold (Featuring Monika Grabuschnigg, Holder 14, Glazed earthenware and resin). Site specific installation, mixed media with sound. 2018

Nuri Koerfer, Over Spiralling. Styrofoam, papier-mâché, resin, car vanish. 2017
Kathy Acker and Alan Sondheim, Blue Tapes. Single channel video with sound. 1972

Monika Grabuschnigg, So it is a lover who bubbles and who foams. Clay, acrylic paint, resin, metal and pump station. 2017

Jake Kent, Calendar for the year (2018, The Present). Stoneware, oil pastel, watercolor, wood glue, plasticine, candles. 2018

Rafal Zajko, HandWorks (RGB). Freehand-embroidery, steel , jesmonite. 2018

GeoVanna Gonzalez, Keep down the blinds and fold (Featuring 
Monika Grabuschnigg, Holder 14, Glazed earthenware and resin). Site specific installation, mixed media with sound. 2018

Kathy Acker and Alan Sondheim, Blue Tapes. Single channel video with sound. 1972

Jake Kent, All Plod is Twat. Stoneware, oil pastel, watercolor, wood glue, fabric scraps. 2018

Josefin Arnell, Champs. Single channel video with sound. 2018

Jake Kent. Cowboy (Stuffed Toy Prototype). Found glazed ceramic, fabric scraps, cotton, duct tape, toilet paper. 2018

Przemek Pyszczek, Supreme Krówki. Krówki candies in paper wrappers. 2018

Monika Grabuschnigg, So it is a lover who bubbles and who foams. Clay, acrylic paint, resin, metal and pump station. 2017

Jack Schneider, Altenbraker Str. 18, 12053 Berlin, Germany (Replica Habitat). Acrylic, vinyl, recycled paper bedding, exercise wheel, water bottle, U-turn tunnel. 2018

Haptic House, installation view

Haptic House, installation view

Jonas Schoeneberg, N0 H0RIZ0N (from the series Fireflies). Styrofoam, plaster, chalk, pigment, varnish. 2018

Leckhaus, La Polizia. Styrofoam, papier-mâché, resin, car vanish, aluminum sheet, bolts, nuts, chain, lace. 2018         

Jake Kent, Calendar for the year (2019,The Future). Stoneware, oil pastel, wood glue, gorilla glue, candles. 2018

Monika Grabuschnigg, So it is a lover who bubbles and who foams. Clay, acrylic paint, resin, metal and pump station. 2017

I have tethered the bitter dream of you to a fat cell 

And walked around the block 

completely naked

Swan Meat , Render/Trigger (2016)

Ian Curtis danced live for four years to the rhythm of his own bodily hauntology, a psychic scene that was composed of life beyond death via the frame of the stage. Without those adoring fearful eyes his body would have been left - reduced to a bedroom producer...but what is it about the bedroom that enables reverie over product.

Haptic House acts as a facilitative landscape for the works on show to become multi-functional, macro >< compact, and personalized versions specifically designed for the viewers. Haptic House neglects the common compositional gestures, rooted in the cannon of a formal art historical g(l)aze.

The House instead welcomes you into an emotive subjecthood, allowing you to feel free to morph your view, graft, sample and remix the infinitum scale of overproduction. Please scale-up your emotional content. Archive yourself amongst these immortal, spacial beings - the exhibition, after all, is here to serve you.

Haptic House explores the concept of muse viewing rather than the designed gaze. Omitting the manners of the cube, in favour of becoming a radical landscape.

Fragmented we stand... and...

Oh, it’s a lonely world, I know

Gon’ get a lonely girl, that’s fo’ sho’

Oh, I’m a lonely boy, she made a lonely boy, yeah, I know Oh, it’s a lonely world, I know

Gon’ get a lonely girl, that’s fo’ sho’

Oh, I’m a lonely boy, she made a lonely boy, yeah, I know 

- Lil Peep, Cry Baby (1996-2017)