There will come soft rains

There Will Come Soft Rains
16.02.–15.04.2018

For modern man, experiencing certain scenarios often turns out to be an effective way of opening up new perspectives on ourselves and the world around us. Bearing this in mind, the exhibition There Will Come Soft Rains(1) tests a particular experiential context by initiating a fictitious journey through time. To this end, a group of international artists remove themselves to the year 2318, where they find themselves in a new kind of world, one without the human species.

Taking this leap in time as their starting point, the artists Marcela Armas, Carolina Caycedo, Julian Charrière, Andreas Greiner & Tyler Friedman, Jeronimo Voss and Pinar Yoldas investigate the characteristics of a non-human world through a range of newly conceived installations. While the exhibition display, with its staging of thematic spaces, roughly takes its cue from the typological presentation form used in museums of natural history, the exhibition actually inverts the was such museums look back on historical epochs to provide instead a speculative view of the future. The exhibition also includes a separate projection room featuring filmic works by Hicham Berrada, Galina Leonova, Uriel Orlow, Mario Pfeifer and Superflex. The program of films looks, in an associative way, at the dystopic potential of the present day inherent in current developments in the fields of ecology, society and politics. The presented films explore possible reasons behind a future disappearance of humankind.

In the exhibition, basic questions about the way we treat our environment, the relationship between art and science as well as the late-capitalist man’s self-image form recurring themes of the different artists’ investigations. At the same time, by speculatively and poetically taking existing developments to a next level, the various works also look at the deeper implications that connect the future with the present. They thus conjecture about both the positive and the negative associations of a possible depopulated world.

Against the backdrop of the exhibition, the current speculation about hybrids and virtual extensions can be understand as a continuation of the anthropocentrism of the past. With the scenario of a non-human world There Will Come Soft Rains aims to look beyond this attitude. At the same time the concept thus becomes an open reflection on forms of coexistence far removed from human dominance. But what kind of alternative thinking about a future world can be initiated by the negation of the human perspective? And are new structures and symbioses imaginable in this world, the kind of positive links that serve to widen the current individual’s horizons?

The project will be continuing in 2019 in cooperation with Musée d’art de Pully in Lausanne, Switzerland.
 

1)The title There Will Come Soft Rains refers to the same-named poem by Sara Teasdale which was first published in the Harper’s Magazine in July 1918.

Exhibition View

Soft Rains – 
Superflex, Flooded McDonald´s, 2009, Installation view basis 2018, Photo: Günther Dächert
Soft Rains – 
Uriel Orlow, Remnants of the Future, 2010, Installation view basis 2018, Courtesy the artist and Lux, London, Photo: Günther Dächert
Soft Rains – 
Mario Pfeifer, #blacktivist, 2015, Installation view basis 2018, © Mario Pfeifer and Flatbush ZOMBIES' Blacktivist, 2015, Courtesy the artist and KOW, Berlin, Photo: Günther Dächert
Soft Rains – 
Galina Leonova, Air, 2014, Installation view basis 2018, Photo: Günther Dächert
Soft Rains – 
Galina Leonova, Air, 2014, Installation view basis 2018, Poto: Günther Dächert
Soft Rains – 
Hicham Berrada, Celeste, 2014, Installation view basis 2018, Courtesy the artist and Kamel Mennour, Paris, Photo: Günther Dächert
Soft Rains – 
Pinar Yoldas, Ecosystem of Excess, since 2013, Installation view basis 2018, Photo: Frithjof Kjer
Soft Rains – 
Marcela Armas, TSINAMEKUTA, 2018, Installation view basis 2018, Photo: Frithjof Kjer
Soft Rains – 
Marcela Armas, TSINAMEKUTA, 2018, Installation view basis 2018, Photo: Frithjof Kjer
Soft Rains – 
Jeronimo Voss, Kassandras Höhle, (Fortlaufende Serie), seit 2018, Installation view basis 2018, Photo: Günther Dächert
Soft Rains – 
Julian Charrière, Iroojrilik, 2016, und Pacific Fiction, 2016, Installation view basis 2018, Copyright the artist and VG-Bild, Photo: Günther Dächert
Soft Rains – 
Julian Charrière, Pacific Fiction, 2016, Installation view basis 2018, Copyright the artist and VG-Bild, Photo: Günther Dächert
Soft Rains – 
Carolina Caycedo, Esto no es agua / This is not water, 2015 and Foresight Filaments, 2018, Installation view basis 2018, Courtesy the artist and instituto de visión, Bogotá, Photo: Frithjof Kjer
Soft Rains – 
Photo credit: Andreas Greiner & Tyler Friedman, The Molecular Ordering Of Computational Plants, 2018, Installation view basis 2018, Courtesy the artists and innogy Stiftung, Essen, and Galerie Dittrich & Schlechtrim, Photo: Nathalie Zimmermann

Artists

Marcela Armas
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Hicham Berrada
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Carolina Caycedo
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Julian Charrière
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Tyler Friedman
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Andreas Greiner
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Galina Leonova
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Uriel Orlow
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Mario Pfeifer
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Superflex
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Jeronimo Voss
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Pinar Yoldas
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Related Pages

Soft Rains – 

Superflex (DNK)
„Flooded McDonald's“

Superflex is a collective comprised of the Danish artists Jacob Fenger (b. 1968), Rasmus Nielsen (b. 1969), and Bjørnstjerne Reuter Christiansen (b. 1969), who have been working together since 1993. They consider their works as a way to question systems of power, capitalism, and the potential of artistic practice in different social fields. They have received international attention with their provocative political initiatives such as their 2007 campaign to include Palestine in the “Eurovision Song Contest”, and their cooperation with Brazilian farmers to create an energy drink called “Guaraná Power”. More recently, in 2017, they exhibited fully functional medical equipment, which was subsequently sent to a hospital in the western Syrian city of Salamiyah. In exchange for purchasing this work, the potential collector receives a photograph of this post-readymade in its original exhibition setting.