In a dimly lit, gutted power station, Pierre Huyghe's latest work "Liminals" descends into an unsettling quantum experiment. The boundaries between reality and the screen blur as sound waves and vibrations jolt viewers, making it difficult to discern what's happening in front of us or on the massive screen displaying abstract visuals.
Viewers' senses are overwhelmed by a mix of eerie sounds and images that evoke feelings of existential dread. They witness a fragmented figure navigating an indifferent world devoid of life. With each movement, our protagonist is left grasping for meaning as if caught in an abyss. Shadows morph into human silhouettes; it's as if viewers are projected onto the walls of their minds.
The artwork draws parallels with Samuel Beckett's existential crisis and Willem de Kooning's surrealist masterpieces. With every glance, a new form appears – a macaque monkey dressed in human attire from his 2014 film "Untitled (Human Mask)" or an uncanny reproduction of Max Weber's sculpture 'Bather,' encased in a beehive, a nod to Huyghe's earlier work.
The notion of space and time dissolves as Liminals blends past and present, blurring boundaries between the viewer and the artwork. The experience is so jarring that it leaves an indelible mark on the mind. What appears is a world where images morph into things and the self disintegrates – all within a realm eerily evocative of our own anxieties about existence.
The art exhibit, situated in Berghain's Halle am Berghain, is set to close on March 8th.
Viewers' senses are overwhelmed by a mix of eerie sounds and images that evoke feelings of existential dread. They witness a fragmented figure navigating an indifferent world devoid of life. With each movement, our protagonist is left grasping for meaning as if caught in an abyss. Shadows morph into human silhouettes; it's as if viewers are projected onto the walls of their minds.
The artwork draws parallels with Samuel Beckett's existential crisis and Willem de Kooning's surrealist masterpieces. With every glance, a new form appears – a macaque monkey dressed in human attire from his 2014 film "Untitled (Human Mask)" or an uncanny reproduction of Max Weber's sculpture 'Bather,' encased in a beehive, a nod to Huyghe's earlier work.
The notion of space and time dissolves as Liminals blends past and present, blurring boundaries between the viewer and the artwork. The experience is so jarring that it leaves an indelible mark on the mind. What appears is a world where images morph into things and the self disintegrates – all within a realm eerily evocative of our own anxieties about existence.
The art exhibit, situated in Berghain's Halle am Berghain, is set to close on March 8th.