The E.N.D. (Energy Never Dies)

Caro Eibl, Johanna Blank, Sebastian Köck, Tomas Sinkevičius and Viltė Bražiūnaitė

10.10.2019—07.11.2019

Eisenbahnstr. 141a, Leipzig

The E.N.D is a show dedicated to disparate viewpoints on resources in relation to comtemporeanity. Aiming to investigate the perception and usage of these (ressources) in western society, this exhibition aligns with the sensing of a shift from an “all is well” mindset - which was to be witnessed during the last years, primarily in younger generations - to a more thoughtful, considered and maybe even pessimistic anticipation of future times. We understand that insatiableness has always been a lie and we simultaneously don‘t want to believe that. Investigating the topic from different angles, the works displayed comment on ongoing processes and cycles, history, repetition and loops. Each of them, individually, examines mechanisms which link certain conditions back to the human, back to the author, to the witness.
Excavating partial responsibilities which are to be seen as parts of a bigger and holistic picture, the selected pieces mostly evolve around the production and construction of goods and how these processes can be perceived in times of ongoing industrialization and digitalization.

Caro Eibl

Inception—Rise of the K-Body [re-edit 2019 video, 12:52 min]
The video Inception—Rise of the K-Body marks a point in time when it is possible to get the most desirable bodies in the world, looking at the Kardashian clan as an extremely popular resource for the construction of ideas of beauty and therefore identity. We speak of the K-Body as a result of high level beauty surgeries and face sculpting techniques through Make-up. This constructed viral prototype, where Lip Kits become holy relicts and a Kardashian clone army is produced, serves as an highly performative ideal for a mainly quite young audience.

Johanna Blank

The Harvest, 2019 [carved bark, glass, pickled roots, water, salt]
Preserving food and creating your own groceries can almost be called a rebellious act in a throwaway society suffering of immense over-production. Finding personal ways of ensuring sustainability and autonomy through alternative ways of consumption lies at the core of The Harvest. Borrowing its title from the peasant process or period of gathering in crops, and with its installation reminding of an consecration or a thanksgiving, the work pays homage to strategies of overlasting, overwintering and survival.

Sebastian Köck

Central Pacific Union, 2019 [silk screen print on metal, screws]‚
In 1869 North America‘s two railroad companies joined up—one starting on the east, the other on the west coast—completing its first transcontinental railroad system with the alleged last golden nail. The work Central Pacific Union revolves around the assumption of a linear progression of time, an array of isolated events and thus moving towards a certain point in time. Using a specific, highly glorified historical event as a material, it suggests a perpetual circular evolution of time.
You Are Nothing But A Bunch Of Ever Changing Particles, 2018 [raku ceramic (clay, banana peel, coffee, salt), metal plate, vulcanized chains, ultrasonic vaporizer, water, distel]

Vilte Bražiunaite & Tomas Sinkevicius

Watery Eyes, 2019 [aluminium, acrylic glass]
Watery Eyes is a sculpture project inspired by sunlight, heatwaves sweeping across Europe and getaways to nature. Also reminding of car side mirrors, the look of the objects was initially inspired by eyewear design. Sitting on the floor as lounging or sunbathing bodies, Watery Eyes reflects on tints and filters as extended and solidified desires, as signs of human suffering and wanting.