The exhibition "Aktive Asche" by Mariechen Danz
and Johannes Paul Raether
feat. KAYA focuses on intricate transformational processes through which the concepts and materials integral to the artists’ practises undergo further intensification, metamorphosis, corrosion and incineration. The point of departure is embodiment and its language, as well as ritual acts and the creation of temporary community. At Bärenzwinger [bear pit], individual cosmologies and form-changing qualities join forces to enter a collectively shared process.
Mariechen Danz “Womb Tomb – Coral Concern”
In Mariechen Danz’ practice, the body serves as a place for examining knowledge-transfer and communication. In the outdoor compound, the clay figure “Womb Tomb“ has been laid out. Containing bark mulch from the ground of the enclosure, the sculpture carries the last DNA traces of the bears. Throughout the course of the exhibition, it absorbs information from the environment in multiple stages. As part of Danz’, KAYA's and Raether's intricate interactions, visitors are invited to interact with the sculpture together with the artist and contribute to its transformation process by writing their worries on paper scrolls, the so-called worry scrolls and injecting them into the damp clay. After these interactions follows a drying and burning process that incinerates the bark mulch and the worry scrolls within the figure, leaving in its place a coral-like fossilisation. “active ashes (weather map Schnute Maxi)“, a spinnaker fabric with digital prints by Danz, KAYA and Raether is stretched over the “Womb Tomb“ as a protective layer.
Johannes Paul Raether “ZewaArena Ash Diamond Halbzeug [184.108.40.206]”
In a second performance appearance by Transformalor “ZewaArena Ash Diamond Halbzeug [220.127.116.11]”, who has emerged from Johannes Paul Raether’s figuration as SelfSister Transformellae evolving since 2010, he/she collapses strategies of industrial production of life and value into their opposite and begins to fork. The forking organises itself as a moment of cremation of his/her ”Re-Rohmaterialien" ("re-raw materials") – over years collected remains and ruins of the respective "Zewa Arena", the paper caves for the plural beings.The resulting ashes become active in the best sense, by again being as “Re-Re-Rohmaterial” – in almost elementary form as carbon – pressed into a new embodiment, a decomposing or entropic identity, and crystallised. They become a semi-finished product (Halbzeug) of a rough diamond pressed from the ashes.
KAYA “– KAYA_YO-NAH YO-HO (Healing performance for a sick painting)” with Nicolas An Xedro and Kirstin Kilponen
KAYA (Kerstin Brätsch & Debo Eilers), acting as a fictional and concrete body, conjoin formal, painterly and metabolic procedures in their productions of identity. Within the bear pit, their “OraKle Paintings” (“Catacomb Mirrors”) carry the wishes of the participants from a workshop that recently took place at TROPEZ Sommerbad Humboldthain and amplify the sound piece by Nicolas An Xedro. As wish- and sound-paintings, they create a sound space and claim their position within a fictitious, metaphorical healing process that culminates in the durational performance “– KAYA_YO-NAH YO-HO (healing performance for a sick painting)” together with Kirstin Kilponen.