THE GREEN ROOM
Installation
Material: plastic sheets & tubes, acrylic paint, clothespins, artificial grass
Size: varies for each space
Green Room signifies the rebirth of the grasshopper paintings. After a long working process and several shows with ART:OS, a computer simulation with “soft- and hardware assemblages,” where our grasshopper became the “positive virus,” allowed to leap between all layers of the absurd imitation of the SUPRENUM supercomputer – Europe’s last attempt to create a unified hard- and software system.
The exhibition took place at the top of the building, accessible only through many stairs. As we carried our work up and down, a rhythmic chant emerged: hop-on-hop …which became the title of the show.
Before entering the exhibition rooms, visitors passed through a narrow hallway with artificial grass and purple hops, painted on transparent plastic, clipped with clothespins onto clear plastic tubes, and placed all over the walls. In quiet rhythm beside the objects, hop-on-hop was stenciled as a playful catchphrase and a metaphorical gesture of cutting the umbilical cord from ART:OS and the Motherboard project, signaling our return to the physical territories of painting.
THE GREEN ROOM
Installation
Material: plastic sheets & tubes, acrylic paint, clothespins, artificial grass
Size: varies for each space
The Green Room signifies the rebirth of the grass-hopper paintings. After a long working process and several shows with ART:OS, a computer simulation with “soft- and hardware assemblages,” where our grasshopper became the “positive virus,” allowed to leap between all layers of the absurd imitation of the SUPRENUM supercomputer – Europe’s last attempt to create a unified hard- and software system.
The exhibition took place at the top of the building, accessible only through many stairs. As we carried our work up and down, a rhythmic chant emerged: hop-on-hop …which became the title of the show.
Before entering the exhibition rooms, visitors passed through a narrow hallway with artificial grass and purple hops, painted on transparent plastic, clipped with clothespins onto clear plastic tubes, placed all over the walls. In quiet rhythm beside the objects, hop-on-hop was stenciled as a playful catchphrase and a metaphorical gesture of cutting the umbilical cord from ART:OS and the Mother-board project, signaling our return to the physical territories of painting.
