PINK WARM BELLY OF A DYING SUN is an exhibition that will take place at the off space on Richard-Sorge-Str. 79 (Berlin - Friedrichshain), on November 15 at 7pm. It will include sculptural, sound, and video installations on the theme of “the mediated nightmares of our times,” inspired by a soundtrack of the same name.

Works by Clemens Behr, Brigitte Fässler,TIND, and Manuel Carbone  will be featured, inspired by the music of composer Prairie (Marc Jacobs) and spoken word artist Aint About Me (Lukasz Polowczyk). The exhibit will run until December 13. By appointment.

Lukasz Polowczyk gave us a quick tour:
We have three pieces on display. In the main room, there is a sculptural mixed-media installation created by Clemens Behr in collaboration with Manuel Carbone and myself. It’s rigged with transducers, which essentially turn it into a set of speakers, so it’s playing a chopped-and-screwed version of the Pink Warm Belly of a Dying Sun album remixed by Mr. Carbone. The compositions were stripped of vocals and spun into a heavy ambient vibe. The piece also includes four LED panels—the kind used in stadiums—which play a video of a poem that I wrote. It’s a bit of a nod to “Blade Runner“, as that retro-sci-fi aesthetic was a big reference for us on this project.
In the other room, a projection showcases two video art pieces running on loop. The first is an abstract underwater dance piece by Brigitte Fässler, featuring dancer Iva Dixson, set to the piece titled “Glacier Gospel.” It’s very minimal, stark, and a different take on the dance video format, as you never actually see the full body moving through space. It’s more like a liquid jigsaw. The other piece is a rendition of the entire album created by TIND (This Is Not Design), which aesthetically draws from ’90s VJ culture. TIND’s approach is all about the active resistance to narrative, and while I’m not sure if he managed to destabilize the narratives in the tracks, I suppose that’s not for me to judge.

Coney Island beaches littered with decomposing whale carcasses, graffitied up as if it’s 1982 again. Thermobaric bombs wring diamonds out of twisted, charcoal-black lungs. An Ikebana presentation of black lilies in a spent tear gas canister turned into a vase, seen through the eyes of Damien Hirst’s cut- up, formalin-preserved shark. These are some of the verbal paintings that appear on the self-titled release PINK WARM BELLY OF A DYING SUN.

The work explores the grotesque, awe-inspiring beauty inadvertently lodged inside the real and mediated nightmares of our times. It attempts to derive emotional and aesthetic pleasure from witnessing the world as we know it unravel, all the while acknowledging that this pursuit is a failed attempt to cope with an overwhelming reality.