Lass dir Alles Geschehn
Galleri Maria Friis are pleased to present Lass dir Alles Geschehn with works by Ana Baumann, Augusta Wolffbrandt, Luna Emily Gitt-Henderson and Martine Myrup.
The worm creates a space of movement that becomes form. If it is form it is social, that is, of the world; as form it is movement and singular. In the wormhole the worm creates an infrastructure to hold itself in the world: the hole fits the worm, but only as it moves
Lauren Berlant The Commons: Infrastructures for Troubling Times
Only by moving can the hole fit the worm – it has to be continually created by moving forward. Churning out space like a worm does means continually creating space by situational movement. In the exhibition works by four artists are chosen to explore the human urge to create alternatives within chaos and accelerationism.
Anoche cerré los ojos y vi la Tierra caer (Last Night I Closed My Eyes and Saw the Earth Falling), Ana Baumann’s sculptural installation inspired by the paraguayan hammock, emerges from the experience of having new identities: a mother and an immigrant. The work reflects on the search for an idyllic place to create for oneself amidst these changes: a place of belonging and emotional shelter.
Augusta Wolffbrandt’s Nightwalker-sculptures, depicts three sets of keychains all with charms invoking elements of decorative (seemingly innocent) cuteness. This everyday object can by night transform itself: when clutched in a clenched fist it turns into a weapon. Wolffbrandt’s objects are objections: by rendering the keys useless for their primary purpose, they function as a glitch: as a way of seeing what used to constitute the infrastructure of normal everyday life. We pause to observe how different systems are interconnected, but only when they no longer work. As weapons they become a symbol: churning out a hole for dialectical feelings of both safety and fear, collective and personal.
For Luna Emily Gitt-Henderson’s Where Do Sculptures Go When They Retire? the body and the desire that comes along with it, resist fixed categorization and instead exist in a state of transformation. Gitt-Henderson is interested in exposing the fiction of “naturalness”, creating a sculpture that linger between human and beast. Skin is a border. Skin can be fur. Creating your own classifications is creating resistance from behind the border of the skin: between the world and your inner life.
Experiencing Martine Myrup’s sculptures is a particularly physical experience. Her sculptures invoke humour, but they also trigger something emotional in us: a protective urge. The animals are symbolic: they tell us something about nature, ourselves and our place within it. Similar to the other works in the exhibition, they invoke movement. They carry an insistence with them – a kind of disturbance in the white-cube space that echoes Berlant’s notion of the worm creating a wormhole as it moves. Artistic interventions can examine the fog of becoming and being in the world, creating intimacy in a chaotic and disturbed public through shared emotional states.
Image: Installation view. Lass dir Alles Geschehn, Galleri Maria Friis (2026). Photo: Malle Madsen
