ICH SITZE IM GARTEN, DAS WETTER IST TRÜB
Together with Lennart Häusser
Copper sheets from my grandfather's former workshop, hemp rope, copper cables, amplifiers, speakers, soundpieces by Lennart Häusser
Variable dimensions
FRISE Künstler:innenhaus: Ein Übersetzungsversuch (Several Acts)
Photos: Moritz Haase
Ich stehe an einer Kreuzung, die Wege sind mit grauem Schotter bedeckt. Weite Ebenen zu allen Seiten, in der Ferne eine kupfern schimmernde Stadt. Von weitem sehe ich jemanden winken. Ich gehe an Sträuchern und Gräsern vorbei und nähere mich einem Haus, die Türen sind offen, davor eine blühende Wiese. Ich sitze im Garten, das Wetter ist trüb. Es zieht ein Wind vom Horizont her auf.
In “Ein Übersetzungsversuch (Several Acts)”, Martian M. Mächler brings together works by themself, Joseph Baan, weather forecast, Elisa Nessler and Lennart Häusser. As part of the series “Was die Stimme nicht weiß”, it is an encounter between different spaces, voices, and non-verbal knowledge; it shares strategies for speaking, writing, remembering, and dealing with emotions. The acts leave traces. How can fragmented experiences be communicated—especially those marked by trauma, forgetting, dissociation, or the unspeakable, those guided by hauntings and the search for a home? When experiences leave hardly any traces. What can be repeated? How can they be made legible? How do these words and the associated emotional landscapes live within the body? What do they need? How do we listen to them?
CRUSHES
Hand-sanded wood of the shelf of a glazier’s workshop, used timber, beeswax, sandpaper, net
Two amplifiers, Bassshakers, copper cables and two soundpieces by Lennart Häusser
2025
Variable dimensions
Solo Exhibition at Frappant Galerie, Hamburg: Crushes
Photos: Elina Saalfeld
'Crushes' refers to the feelings between amazement and heartbreak, elation and falling (in love).
A wooden walkway bathed in golden-orange light connects the three rooms of the Frappant Galerie, the scent of pine wood and beeswax fill the air. Creaks and groans are coming from the wood, and a vibration is felt travelling through the floor when one steps on it.
Previously used as shelving in an old glazier's workshop, the wood bears the marks of its former use. It lies on top of construction timber, forming a herringbone pattern that suggests homeliness and wealth, yet remains unstable with irregular gaps and abrasions.
When crossing the room, a stack of sandpaper used for manual processing becomes visible as well as a net covered in beeswax that was used to varnish the wood. Together, these items recount the production process: cutting, assembling, grinding and gently coating. They thus open up the possibility of transferring these evolving relationships to the interpersonal realm, creating an atmosphere oscillating between intimacy and eeriness that reflects the ambiguity of many human relationships.
SO WEIT, SO GUT
MDF, Plaster, Pigment, Headphones, 3-channel-audio piece by Lennart Häusser
2023
3x 30x15x380 cm/ 30x60x150cm
HFBK Hamburg/ Frappant Galerie: Told you I’ll be here forever
Photos: Jaewon Kim
Three power poles standing together in a loose group constellation. The white cube becomes a landscape in which the pylons face each other, loosely camouflaged in color, without their typical and meaningful spatial connections.
Nevertheless, there is an electricity box near them that offers three headphones. Listeners physically mirror the poles and hear an audio piece by Lennart Häusser in which encounters take place. These create a tableau of obligations, an image of appointments and the evasion of them. Vague formulations and uncertainties in party, exhibition and institutional contexts are exchanged.
The question remains: What actually connects us?
FEST
Young Valley Soil
Firehoses, Strings, Headphones, audio piece
2023
MOM ART SPACE: No more lonely laundry, curated by Cake & Cash curatorial collective
Photos: Laura Mahnke
Four voices entangle, sway, whisper, comfort and accompany each other. Sometimes noisy, sometimes tender, sometimes rythmic, sometimes drifting apart.
ES REGNET DURCHS DACH
DIE BAHN RAST VORBEI
AN SCHLAF IST NICHT ZU DENKEN
Ceramics, copper sheets, soapstone, glas, MDF, bass pump and amplifier
2022
Kunstverein Springhornhof: Bataklık Brezo Heath Hede Heide Lande Ljunghed пустошь Vresovisko
Photos: Elisa Nessler & Fred Dott
The bass vibration of a heartbeat is shaking the board, causing a stone shoulder blade and two ceramic spurs to amplify the beat in another sound.
Spurs clink and rattle, the stone knocks on glas, the steady sound becomes a never-ending, nerve-racking rhythm between drive and madness.
DU WIRFST MIR EIN WORT ZU UND IN DER LUFT WIRD ES ZU SPRACHE
together with Francisca Markus
fabric dyed with nettle / cabbage / turmeric
2021
Forest near Nottlun: With mosses, airs and bees, we dance along with trees, curated by Francisca Markus
Photos: Francisca Markus
CROSSINGS OF O
Young Valley Soil
Foil, paper, 2021
Kunstverein Harburger Bahnhof / HFBK Hamburg: See you th3re - Dialoge zwischen Fenstern,curated by Anne Meerpohl
Photos: Maik Gräf
Dialogue 2 of the five-part series "See U th3re" takes place between the artists Helena Müller and the collective Young Valley Soil, consisting of Elina Saalfeld, Elisa Nessler, Francisca Markus and Cristina Rüesch.
While Young Valley Soil calls on us to form an O with our mouths, Helena Müller invites us on a round trip in water vapor after sunset.
In their showcase exhibitions, the artists enter into a dialogue about processes of visualization: of gender stereotypes, coded meanings and the coincidental permanence of interpersonal encounters and alliances. The glass panes of the showcases play a special role here. The artists defy their spatial limitations and use the showcases from the inside and outside. They expand them auditorily, but also performatively as mediators of showing and concealing.
This is a beginning.
(Annette Hans)