s/a-il(i)ent ∞-cyto - ceramic sculpture

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katrina schneider
s/a-il(i)ent ∞-cyto - ceramic sculpture
2021

About the Item

piece 's/a-il(i)ent ∞-cyto' out of the series "detonation" wheelthrown and formed, manipulated, multiple glazed and multiple fired stoneware objects Die 10 Objekte formen ein System aus mehreren vergangenen, gegenwärtigen und zukünftigen Phasen und Verhältnissen einer und innerhalb einer Gesellschaft. Der Patient als der leere Mensch, das Kind, der Körper, der Geist, das Gefäß. Der Filler als die Struktur, die Kultur, die konkret schlechten Seiten eines sich über Jahrtausende entwickelten, von Mensch zu Mensch, von Gesellschaft zu Gesellschaft weitergereichten und bis in die Gegenwart mitgetragenen Werte- und Machtsystems. Eines in sich verwobenen Gebildes aus durch alle Gänge und Schichten der Wissenschaften und Unwissenschaften sich verklebenden, viral beschleunigenden Mikrokomponenten einer Maschinerie. So stehen die vier Filler nur als Beispiele, herausgezogen aus eben diesem von Sekunde zu Sekunde expandierenden Konstrukt aus ineinander verschmolzener, abertausender Hülsen, deren Saft weitertropft, weiter gepresst wird in Gedärme und Schleimhäute, weiter transferiert wird über elektrische Ströme auf den Thron zusammengeschusterter Normen und Gesetzmäßigkeiten. Und diejenige (alt. derjenige), die das Leben betreten hat; die jetzt mit dieser ganzen Scheisse gefüllt ist, sollte, als mir einzig möglicher Schritt erscheinend, den Übergang als kollektiven Hinterausgang nutzen: anfangen, wütend zu sein. the 10 objects form a system of several past, present and future phases and roles of and within a society. The patient as the empty human being, the child, the body, the mind, the vessel. The filler as the structure, the culture, the concrete dark sides of a system of values and power that has developed for millennia, passed on from person to person, from society to society, and carried into the present. An interwoven structure of viral accelerating micro-components of a machinery, sticking together through all tubes and layers of sciences and unsciences. Thus the four fillers stand only as examples, extracted from this very construct, expanding from second to second, of thousands and thousands of sleeves fused into one another, whose juice continues to drip, is pressed further intointestines and mucous membranes, is transferred further viaelectrical currents to the throne of cobbled-together norms and laws. And the one who has entered the life; who is now filled with all this shit, should, as appearing to me the only possible step, use the transition as a collective back exit: start to be angry. - patients, fillers. a game of symbio-parasitical metamorphosis. the body as hole. look behind. the syringe in your medulla. invert yourself. turn the cannons. Exit !1radicalism. the holed body. - 'the vacuum remains: you stand in midcourse, shocked by the discovery, and those of you who yearn desperately for the sweet unawareness of the cultural house of bondage cry out to return there, to the sources, but you cannot go back, your retreat is cut off, the bridges burned, so you must go forward' Golem XIV Titles patients: exit ∀: ¬metallicity, 2021 s/a-il(i)ent ∞-cyto, 2021 the choked up multiplying complexity, 2021 nucleus of maybes, 2021 fillers: injection padrES9794, 2020 480V trypofiller, 2020 the holy see drops, 2020 encrusted doctrine machine, 2021 perforatwist fillers 2.0: catabolistic selfcontamination, 2020 holest(-ed) annie(hilation), 2021 see more: https://kazo.systems/2022-detonation

Creator:
katrina schneider (1992, German)
Creation Year:
2021
Dimensions:
Height: 5.91 in (15 cm)Width: 11.82 in (30 cm)Depth: 11.82 in (30 cm)
Medium:
Ceramic,Glaze
Movement & Style:
Contemporary
Period:
2010-
Condition:
Gallery Location:
Wien, AT
Reference Number:
1stDibs: LU2235211413102

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