December 10, 2016 to April 8, 2017
Potsdamer Str. 97, 10785 Berlin

In their first joint solo exhibition, artists Cécile B. Evans and Yuri Pattison are interested in designer couple Ray and Charles Eames’ legendary collaboration with the computer company IBM.

The Eames’ were charged with making the brand accessible, in a time where few were familiar with these new technologies. As part of the campaign, they designed the IBM pavilion for the 1964 New York World’s Fair, producing a series of films and creating a complex environment for visitors to test drive this new co-habitation with computers. In essence, they presented technology as a new way of living, rather than a simple product.

The questions being asked at the time were: What does life look like when influenced by new technologies? What connects Human and Machine? The Pavillon proposed digital solutions for very complex but also simple everyday questions; ranging from sitting arrangements for an evening meal to urban planning. These questions, when carried through to today present a case whereby the same tools are used for living and working, the social and the political. This way of living, later vaguely referred to as ‘mid-century’ has been adopted by the producers of today’s technologies and repackaged for the aspirations of now.

For the exhibition at Helga Maria Klosterfelde Edition Evans and Pattison have revisited three chairs from the Eames Office and given them a contemporary reworking using plexiglass, a material that seeks clarity. The chairs become living sculptures, employing still as well as moving image and assembled materials. The question, Evans and Pattison are asking, is similar to the ones asked then: how do we, you and I, want to live in the future? For better or worse, it is a question worth asking of the things that surround us in our daily lives.

Exhibited works:

Cécile B. Evans and Yuri Pattison

ICT (in constant transport), 2016
Wire chair copy, UV print on heat formed copolyester, permanent ink on transparent sheet, Raspberry Pi, lcd monitor, video, headphones, cables, packing material, packing tape, cardboard box
approx. 170 x 80 x 90 cm
Unique

Cécile B. Evans and Yuri Pattison

LWS (love work seat), 2016
Custom acrylic chair produced with BOSN, UV prints on heat formed copolyester, Raspberry Pi, lcd monitor, video, portable speaker, audio, two way link monitor, fiber pillow, cables
approx. 105 x 90 x 80 cm
Unique

Cécile B. Evans and Yuri Pattison

PoTP (part of the problem), 2016
Custom acrylic chair produced with BOSN, UV print on heat formed copolyester, transparent suitcase, Raspberry Pi, lcd monitor, video, two way link A/V camera with sound, whirl-pak water filled bags, assorted miniature figures, cables
approx. 85 x 80 x 70 cm
Unique

For further information, please contact Alfons Klosterfelde at office@helgamariaklosterfelde.de or +49 30 97005099.

May 2 to June 20, 2015
Potsdamer Str. 97, 10785 Berlin

Yuri Pattison (born 1986) is an Irish multimedia artist who explores how the virtual world permeates material reality.
For the exhibition “Architectures of Credibility”, Pattison will present new works detailing the symbolic erasure and destruction of data in relation to recent and historic events. The show explores the anxieties experienced in our relationship with the amorphous shadow of the digital.
The exhibition title “Architectures of Credibility” is a reference to Lawrence Lessig’s theory on how cyberculture establishes identity and credibility.

The artist has recently participated in “The Future of Memory” at Kunsthalle Wien (Austria) and will be part of the exhibition “The Weight of Data” at the Tate Britain in London and “The British Art Show” in Leeds (UK) this year.

“That awkward moment you realise that your files are still on the hard drive even though it’s broken and has been rendered useless to you. Someone else, not you, probably the repair person you trusted to retrieve the files to put them on a functional drive can and likely has accessed them. Maybe they’ve even resold your old hard drive for its parts and now someone else has access. They (quite literally if you think about it) have the keys. Room 1014, Mira Hotel, Hong Kong. Edward Snowden is sequestered in a room after revealing to the world he has access to all of our files, with the support of the US Government. He has given the evidence to a filmmaker, a journalist for the UK based Guardian and subsequently to Wikileaks, an international organisation that safe-keeps highly sensitive leaked information. Under forced instruction by GCHQ (the UK Government) the Guardian destroys all materials in their possession related to the leak. Now we are all implicated in the politicised internet. Yuri Pattison’s first solo exhibition at H.M. Klosterfelde points to the clumsiness of this digital media, its brutal dependence on the physical (especially under the command of unseen human hands). Woven through the space is the repositioned detritus of the parts and acts that lead the viewer to this very point in recent history- a Wikileaks server, a thumb-print jabbed motherboard, an image of the world as seen from a chatroom and perhaps most poignantly, a “How To” to this data’s destruction. These are blueprints for a new kind of architecture. This is Architecture of Credibility.”

Text by Etiennette Seynaeve
Click here for available artworks