palace enterprise, DK

The presentation is embraced by a perpetual Starry Night in the shape of bronze breads (Benedikte Bjerre). Tension between the material and the form of a sculpture often arises from the contrasting properties of materials and the way in which they are manipulated. The sculptural Slips mounted on the wall (Marie Lund), the tension in the material underscored in dialogue with the photographic work series Retinal Rift (Simon Dybbroe Møller), that show the mechanics of an organic eye recorded by a machine eye, an encounter between the machine-like and the weirdly human.

They are glimpses into the abyss: a shared threshold, an uncanny intelligence, a symbiosis. These eyes appear both familiar and wrong, logical and horrendous. They are things that usually slip by. The blood in the image, the body in the flow – reflecting in the lit, red neon Algorithms-Remains of a Language (Ann Lislegaard), alluding to algorithms or remains of a language. The Pinocchio’s (Tora Schultz) are bend, shaped and installed with faces inward and elongated noses hidden within the walls, the works evoke the transformation of Carlo Collodi’s brutal 19th-century tale into Disney’s sanitized version mirroring the interplay between physical creation and the constraints of structural power.