Benjamin HirteWinter

Images

Installation view. Winter, 2014. Christian Andersen, Copenhagen
Installation view. Winter, 2014
Installation view. Winter, 2014. Christian Andersen, Copenhagen
Installation view. Winter, 2014
Benjamin Hirte. Untitled, 2014. Steel and lacquer. 207 x 75 x 36 cm
Untitled, 2014. Steel and lacquer. 207 x 75 x 36 cm
Installation view. Winter, 2014. Christian Andersen, Copenhagen
Installation view. Winter, 2014
Benjamin Hirte. oO, 2014. Aluminum and steel. 16 x 10,5 x 5,5 cm
oO, 2014. Aluminum and steel. 16 x 10,5 x 5,5 cm
Benjamin Hirte. II, 2014. Lacquered steel. 62 x 12,2 x 9,5 cm
II, 2014. Lacquered steel. 62 x 12,2 x 9,5 cm
Benjamin Hirte. oo, 2014. Steel, Plexiglas and plastic. 15 x 6,5 x 4,8 cm
oo, 2014. Steel, Plexiglas and plastic. 15 x 6,5 x 4,8 cm
Benjamin Hirte. ~, 2014. Steel, plastic and resin. 21 x 23 x 3,8 cm
~, 2014. Steel, plastic and resin. 21 x 23 x 3,8 cm
Benjamin Hirte. o, 2014. Steel and brass. 12 x 4,5 x 5,5 cm
o, 2014. Steel and brass. 12 x 4,5 x 5,5 cm
Benjamin Hirte. Untitled, 2014. Silk screen print on radiator. 200 x 70 x 14 cm
Untitled, 2014. Silk screen print on radiator. 200 x 70 x 14 cm
Benjamin Hirte. Untitled, 2014. Bronze and stainless steel. 4 x 3,5 x 4 cm
Untitled, 2014. Bronze and stainless steel. 4 x 3,5 x 4 cm

Press release

Pop is a serious business and winter is comprehensive. End of March last year, children were still sitting on window sills counting countless snowflakes, lacking vitamin B. It was a long grim time of year at its finale, when a friend came up with the productive worry: What if it never ends? In diagrams winter predominantly forms the graphical valley or long tail, sparing some factors linked to the need for warmth and food - emotionally and physically. 
Love, career, creativity, economy, vibrancy can all fall below zero and result in burnout, melancholia, lack of innovation and neatness, psychograms of sparse landscapes with trunks, leafless trees, spots of brown soil in a white semigloss blanket - garnished with some greenish leftovers in a vegetative state. 

Her own dance moves, though tricky, mostly consist of flicking her extremities (the dozen or so dancers, meanwhile, do quintuple backflips and jog upside down in DayGlo hamster wheels, the latter exercise occasioned by the self-referential song “Scream & Shout,” which is presided over by a house-sized hologram of will. i. am chanelling the Wizard of Oz). There are no live-cast close-ups of the performer’s face, probably a huge relief for someone who has to muster the energy to do this one hundred times.
Baby one more time, Kevin McGarry, artforum.com, 08.01.14
 

Granted pleasure, unrestrained sorrow
Messingkauf Dialogues, Bertolt Brecht