Sleep Walker (2020)
Exhibited at Reneenee, Amsterdam.
photo: Elmer D.
“Good Blueburry” (2020)
photo: Fan Liao
photo: Fan Liao
“I, BURNING MAN”
22.06 - 12.07.2019 / Preview 22.06 - 7pm
Gallery Heerz Tooya presents the duo exhibition, titled I, Burning Man, with new works by visual artist Kristoffer Zeiner Christiansen and Marius Mathisrud.
Let’s take a bellyflop dive into an epic metabolic rift, where life, death, and everything in-between unfolds…
After a long ride, he made camp for the night. With thorough precision, he found a spot by a mountainside and lit up a bonfire. After eating a grilled steak, smoking a few unfiltered tobaccos, and trapped a dozen fireflies, he leaned his back against the rocky wall and stared, across the bonfire, into the black forest. Morgan Kane, the free, lonely man always has his back against a wall, revealed from the constant fear of having someone lurking behind him, yet dealing with increasing paranoiac awareness, that the antagonistic Other will confront him. The twist is that he is unwittingly already consumed by his always-already undesired violator.
The exhibition by Zeiner Christiansen and Mathisrud is a bold reminder that human contradictions in ways of survival and revival find its expression equally as much in the atomic realm as in omnipresent objects. Carbon is their voyage. An action-packed passage condensed into an anthropomorphic deity, that at the end of the day asks the question, what do we do when we know, but do not care, and what do we see, when it is already there.
- Lars Nordby
I, Burning Man
I’m a burning man
Like a star,
I’m a planet that won’t be put out
I am a burning man
I am THE burning man
One that can’t be shut down
I am a burning man
A star among the rest I’m fire to your wind
And I put your sails on spin I’m on fire
I eat babies for breakfast and I tell lovers how to have sex
That’s how hot it gets
When lil burner reflects
On love and respect
and the rest
All the colors
All the fire
I want to become one
I want to become them
I am them
I am there
I am THE burning man
Fast lane til candle is over
FIRE EMOJI ON EVERYTHING I DO
Living above you all
In my fire suit and stardust all around
Too much never
Please just see me as I am
Inside of you
Lil’Burner is forever true
165 x 170 x 60cm
Toxic Aliens, 2019
Carbon fiber, epoxy resin, kevlar, and styrofoam
297 x 175 x 32cm
come closer: gemini exit (beeny's retirement)
OUDE KERK, Amsterdam, NL
"Plenty who are not experts comfortably characterise a Gemini." Astrological charts are discarded, used, embraced like other technologies. A label is worn with a set of limits. NASA states that Project Gemini (1961-66) was thus named for the two men who would fit in the capsule, attempting space walks and docking, always recording the results. The gesture of alienating and forcing the position of not knowing, a system for deluding expertise, is at the core of this iteration of Come Closer, echoing ‘The Instrument Of Troubled Dreams’, a site-specific installation by Janet Cardiff (1957) and George Bures Miller (1960) that was composed in and around the Oude Kerk.
GEMINI EXIT (Beeny's Retirement) was a situation for camera by Ivan Cheng focusing on agency without authorship. It featured new sculptures by Kristoffer Zeiner that were cast in the role of 'Beeny', and improvising pianist Marta Warelis playing the Transept organ of the church. Playing on the role of compression, the 'public' were invited to use their own headphones and electronic devices to stream audio files prepared by Cheng, containing texts and audio that offered an alternate accompaniment or sonic proximity to the live action. Respondents to an open call took featured but ambiguous roles in the work. The complicity in the act of mediating this content was voluntary, with the role of the live witness and their recording device is given equal emphasis.
..with Dagmar Bosma, Ivan Cheng, Jacob Dwyer (Canon HF10), Sandy Harry Ceesay, Fán Liào (Sony A7S II), Yunfei Ren (Sony A7S II), Nolwenn Salaün (Nikon D3200), Natalia Salloum, Sophie de Serriere, Kristoffer Zeiner'
Contraband' is a video composed of materials from GEMINI EXIT beeny's retirement, edited by Ivan Cheng.
This program is part of Come Closer: a series of four intimate evenings curated by Radna Rumping, where visitors and artists explore the sonic space of the Oude Kerk with dance, performance and deep listening exercises. Come Closer has been developed in relation to The Instrument of Troubled Dreams, a sound installation by Janet Cardiff and George Bures Miller at the Oude Kerk, curated by Jacqueline Grandjean. Beeny's Retirement is a scored situation for camera by Ivan Cheng, with new sculptures by Kristoffer Zeiner cast in the role of Beeny*. The score is structured temporally by the Transept organ of the church, played by pianist Marta Warelis. A series of half-lives, mini golf holes, and emotional contexts play out for registration on a range of devices. The 'public' is invited to use their own headphones and electronic devices to stream audio files prepared by Cheng, containing texts and audio to listen to, relay, and prescribe movement. The act of mediating this content is voluntary, with the role of the witness and their recording device is given equal emphasis.
* Beeny refers in part to Beanie Babies, understuffed soft toys produced in limited numbers; highly collectible. Further, parts of the structural logic finds origin in S03E13 of Gilmore Girls, in conjunction with recent events and relationships. This project functions within the broader interest in (de)materialisations of scores.