Please visit the artist Karina Nimmerfall’s project ASYNCHRONOUS OBJECTS (Empire and Environment) at Studio 6, Multi-Purpose Building, Ohashi Campus, Kyushu University.
Over the course of one month, Nimmerfall has researched in the Kyushu University Museum’s collections into forestry, biodiversity and Japan’s history of lumber-trade in pre- and post WWII, by following wood as a natural resource in its use in furniture and design. The artist’s set up at Studio 6 gives insight into her findings, weaving them into a reflection on the interplay of objects and display, the production of knowledge, and as creative encounter between art and science.
A Setting for Research and Care
Date: March 11 – 16, 2025
Venue: Studio 6, Multi-Purpose Building, Ohashi Campus
*Open when the artist is present
Closing reception
Date&Time: Sunday, March 16, 14.00 – 18.00
The objects have arrived. And, having arrived, what then do they do? Assembled with obsessive care and endless yet minimal variation. Silent and unmoving. Aren’t artifacts, regardless of whether they are pieces of high art or implements of everyday life, first and foremost historical effects of institutionalizations and classifications? She knows that the endeavor takes place alongside other works that have focused on the meaning of a collection as both a formal space and an ideological construct. Objects transferred from the storage areas into the gallery spaces, to subvert traditional notions of connoisseurship and aesthetic display. However, isn’t the exhibition an obsolete format of communication? Shouldn’t the objects be in the world, with their own different temporality, experienced there, in order to produce the effects of knowledge? Could they be cast as active narrators of their own histories – affect-laden, garrulous, animated? Isn’t the exhibition everywhere?
Excerpt from Asynchronous Objects (Empire and Environment), work-in-progress, Karina Nimmerfall 2025.
Over the course of one month, Nimmerfall has researched in the Kyushu University Museum’s collections into forestry, biodiversity and Japan’s history of lumber-trade in pre- and post WWII, by following wood as a natural resource in its use in furniture and design. The artist’s set up at Studio 6 gives insight into her findings, weaving them into a reflection on the interplay of objects and display, the production of knowledge, and as creative encounter between art and science.
ASYNCHRONOUS OBJECTS Empire and Environment
A Setting for Research and Care
Date: March 11 – 16, 2025
Venue: Studio 6, Multi-Purpose Building, Ohashi Campus
*Open when the artist is present
Closing reception
Date&Time: Sunday, March 16, 14.00 – 18.00
The objects have arrived. And, having arrived, what then do they do? Assembled with obsessive care and endless yet minimal variation. Silent and unmoving. Aren’t artifacts, regardless of whether they are pieces of high art or implements of everyday life, first and foremost historical effects of institutionalizations and classifications? She knows that the endeavor takes place alongside other works that have focused on the meaning of a collection as both a formal space and an ideological construct. Objects transferred from the storage areas into the gallery spaces, to subvert traditional notions of connoisseurship and aesthetic display. However, isn’t the exhibition an obsolete format of communication? Shouldn’t the objects be in the world, with their own different temporality, experienced there, in order to produce the effects of knowledge? Could they be cast as active narrators of their own histories – affect-laden, garrulous, animated? Isn’t the exhibition everywhere?
Excerpt from Asynchronous Objects (Empire and Environment), work-in-progress, Karina Nimmerfall 2025.