The last weeks and months had been pretty much affected by the preperations
and openings of 4 exhibtions of BENTEN CLAY in Berlin.
Here are some impressions:
THE SURFACE OF DISPLACEMENT
08.09. – 06.10.2012, solo-exhibition
The object THE SURFACE OF DISPLACEMENT, specifically designed and produced for the
Loris gallery in Berlin, refers to the Icelandic Kárahnjúkar dam—a major construction project
for energy production finished in 2006. The object is an architectural transcription of official
aerial photographs. In them, the formerly vivid blue glacier rivers are depicted as they exist
today: as a melted monochrome surface, or muddy lake. By wedging a heavy module into the
gallery space—relating in form and content to the lake—, BENTEN CLAY invites aspects of dis-
placement to be experienced. The object stands then as a massive over-dimensional immovable
object forced stiff into the predetermined space. Entering and perambulating becomes limited,
actionability is reduced to a minimum and the habitual use of the room is disturbed.
projectspace Freies Museum
In the exhibition 100.000, BENTEN CLAY combines various works realized under the topic
Nuclear Waste . That is part of the long term project titled Age of an End in which BENTEN
CLAY analyzes the appearance of the now by assessing the limitations of natural resources
and the volatility inherent to the human pursuit of control.
Iceland as an embodiment of promise is the premise of the photographic and filmic notes
that BENTEN CLAY bring together in this exhibition to form an installation network. It is a
promise of a natural paradise, which may not be compatible for very much longer with the
simultaneous promise of the lowest energy prices in the world. Many dreams are tied to the
small, distant, harsh country, the geologically youngest land in the world, which despite
being badly shaken by the financial crisis is still a country with the one of the highest living
standards in the world. Politicians sell resources, and with them the country’s future, to
foreign industry. In their photography and film essay, BENTEN CLAY addresses various
aspects of lobbying, entanglements and interference in nature. They are multi-layered
visual commentaries on the government’s promise of workplaces, wealth, power and
influence by means of dubious projects for energy production, with irreversible disad-
vantages for nearly everyone involved as their result.
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