Outfit for a Woman in a Field, 2022
Latex, stainless steel, dandelions
An Elastic Continuum I - IV, 2022
Stainless steel, silver gelatin prints
Black and white photographs of flowers.
Black and white photographs of women holding flowers.
Black and white photographs of women holding Russian Kazakh dandelions.
Black and white photographs of women farming Taraxacu Kok-Saghyz, aka Russian or Kazakh dandelions, plants cultivated for the high natural rubber content in their roots that are native to the Tien Shen mountain region of Kazakstan.
Black and white photograph of a woman holding a dandelion in a field in Minnesota, United States, 1943.
Black and white photograph of a woman handling a dandelion in a field near Auschwitz, Poland, 1944.
Black and white photograph of a woman holding a dandelion in a field in the Zhytomer region of the Ukraine, 1950.*
Black and white photograph of women holding a dandelion grown at the Institute of Plant Biology and Biotechnology, University of Münster, Germany, 2022.**
Outfit for a woman in a field.
* Photograph missing; The Central State Cinema-Photo-Phono Archive of Ukraine which holds this photograph has been closed due to martial law since mid-2022.
** Photograph by Federico Clavarino, 2022.
Latex, stainless steel, dandelions
An Elastic Continuum I - IV, 2022
Stainless steel, silver gelatin prints
Black and white photographs of flowers.
Black and white photographs of women holding flowers.
Black and white photographs of women holding Russian Kazakh dandelions.
Black and white photographs of women farming Taraxacu Kok-Saghyz, aka Russian or Kazakh dandelions, plants cultivated for the high natural rubber content in their roots that are native to the Tien Shen mountain region of Kazakstan.
Black and white photograph of a woman holding a dandelion in a field in Minnesota, United States, 1943.
Black and white photograph of a woman handling a dandelion in a field near Auschwitz, Poland, 1944.
Black and white photograph of a woman holding a dandelion in a field in the Zhytomer region of the Ukraine, 1950.*
Black and white photograph of women holding a dandelion grown at the Institute of Plant Biology and Biotechnology, University of Münster, Germany, 2022.**
Outfit for a woman in a field.
* Photograph missing; The Central State Cinema-Photo-Phono Archive of Ukraine which holds this photograph has been closed due to martial law since mid-2022.
** Photograph by Federico Clavarino, 2022.
Hevea Act 4: Unnatural Ecologies, 2022
Latex, steel, air valves, hardware, PDF, speakers, sound piece, 9 mins, looped.
“Latex and rubber are indeed extraordinary substances that allow us to reflect on the techniques and technologies that produce and relate bodies with materials in unnatural ecologies.”
Delfina Cabrera in The Disorder of Things, a commissioned essay that forms part of the Hevea Act 4 digital publication.
Installation views: Linus Muellerschön
Latex, steel, air valves, hardware, PDF, speakers, sound piece, 9 mins, looped.
“Latex and rubber are indeed extraordinary substances that allow us to reflect on the techniques and technologies that produce and relate bodies with materials in unnatural ecologies.”
Delfina Cabrera in The Disorder of Things, a commissioned essay that forms part of the Hevea Act 4 digital publication.
Installation views: Linus Muellerschön
Hevea Act 4: Unnatural Ecologies, 2022
Digital publication, optimised for mobile, designed by Jamie Hudson
Featuring three commisioned texts:
A collaboration between the sun and the skin of the rubber: A conversation with Sajan Mani and Antony George Koothanady,
transcribed by Bethan Hughes, 2022
Topologies of an Extraordinary Substance
Delfina Cabrera, 2022
The Disorder of Things,
Delfina Cabrera, 2022
Digital publication, optimised for mobile, designed by Jamie Hudson
Featuring three commisioned texts:
A collaboration between the sun and the skin of the rubber: A conversation with Sajan Mani and Antony George Koothanady,
transcribed by Bethan Hughes, 2022
Topologies of an Extraordinary Substance
Delfina Cabrera, 2022
The Disorder of Things,
Delfina Cabrera, 2022
Collars and Cuffs, 2022
Latex, stainless steel, steel, hardware
&
Stattsgummi, Stattsblume, 2020
One colour screenprint on Kozo paper, each 60 x 42 cm, framed
Presented as part of the group exhibition A Fluid Defence, Künstlerhaus Sootbörn, Hamburg, 04. - 19.06.22.
Latex, stainless steel, steel, hardware
&
Stattsgummi, Stattsblume, 2020
One colour screenprint on Kozo paper, each 60 x 42 cm, framed
Presented as part of the group exhibition A Fluid Defence, Künstlerhaus Sootbörn, Hamburg, 04. - 19.06.22.
Hevea, 2021
Catalogue published as part of Goldrausch 2021. Design by Alina Schmuch. Essay by Kassandra Nakas:
“Hevea ist spekulativ, weil Bethan Hughes neben den Objekten auch die Bilder unserer Gegenwart in den Blick nimmt: computergenerierte Bildwelten, die in ihrer permanenren Verformbarkeit ein unerwartetes visuelles Echo der geschmeidigen Plastizität des allgegenärtigen Gummis sind.”
/
"Hevea is speculative because Bethan Hughes focuses not only on objects but also on the images of our present: computer-generated visual worlds whose permanent malleability is an unexpected visual echo of the supple plasticity of the ubiquitous material rubber."
Catalogue published as part of Goldrausch 2021. Design by Alina Schmuch. Essay by Kassandra Nakas:
“Hevea ist spekulativ, weil Bethan Hughes neben den Objekten auch die Bilder unserer Gegenwart in den Blick nimmt: computergenerierte Bildwelten, die in ihrer permanenren Verformbarkeit ein unerwartetes visuelles Echo der geschmeidigen Plastizität des allgegenärtigen Gummis sind.”
/
"Hevea is speculative because Bethan Hughes focuses not only on objects but also on the images of our present: computer-generated visual worlds whose permanent malleability is an unexpected visual echo of the supple plasticity of the ubiquitous material rubber."
