No Need to Hunt | We Just Wait for the Roadkill

Alexander Endrullat, Burkhard Beschow, Camilla Steinum,
Dorota Gaweda & Eglé Kulbokaité, Jake Kent, Kai Hügel, Michele Gabriele

Curated by:
Paul Barsch

Installation View

Installation View

It was not meant as a statement. Not at all. They just took it, mixed it, altered and extended it. They did not even care. Artifacts. Cultural objects. De facto found footage. Natural materials. … No hierarchy but full potential. Total opennesssssssss Ssssssssssssssssssss ssssssssssss ssssss

A thrilling, raspy scream that sounds exactly like a raptor should sound.
At least, that’s what Hollywood directors seem to think.

It was a nice day. Late spring. High grass. We were driving already for a long time. I was thinking about the raptors to escape the monotony of the approaching horizon. How they were sitting there, starring at us like pale teens starring at tumblr scrolls. We saw quite a lot along the road. Beautiful Birds. „You need to type this in: NO NEED TO HUNT … in the Notizbuch. Acht Drei Null Eins. You have it? … No Need to Hunt — WE JUST WAIT FOR THE ROADKILL. …… Thats how we work these days. We feed from the cultural roadkill. The birds are smart. They get fresh meat with zero exhaustion. …“

Situation A:
An Artist goes for a hike in the woods. He spots a really nice cell phone
on the ground. He picks it up with thumb and pointer to save it.

Situation B:
An Artist opens her Instagram account. She spots a really nice well stone
in the scroll. She presses with thumb and pointer to screen-save it.


Installation View

Installation View

But if it’s roadkill, who killed it?
“In general, really, a lot of things that invisibly control the structures that we interact with on a day-to-day basis are corporate intellectual property.”1


To work is to wait and stalk. So we start stalking, although, to be fair, we are always on prowl.
/inert and puffed up/ /aware and intent/

It is the way we work now, and so we scroll – it’s mindless scroll, but it’s also mindful scroll. We are always looking for input, always looking for content. Images and snippets of texts frame our thoughts, they become our thoughts. It is not about going just for whatever, it is about amassing information and sifting through it.
/we are not lazy. we are laid back/

Yes, we just took it, mixed it, altered and extended it. And no, we didn’t care.
I ate it, now it’s mine; i digested it, now it’s me.

/fresh meat with zero exhaustion/ is not exactly true, at least it shouldn’t be. Immaterial labour is real labour and going beyond just looking and repeating requires precision and focus. Laid back is fine, but remember, I scroll too and I can see if you’ve been lazy; in fact, I want to see you exhausted.
But in the back of our minds, always: how fresh is this roadkill anyway?

Maybe it is not that much about authorship anymore, maybe it is about ownership instead. It does not matter if you made it, what matters is if you own it. It’s not that easy to determine who made it, who appropriated or recontextualised it. The idea of ingenious artists-authors seems almost ridiculous now, yet ownership is no laughing matter. And the higher up the food chain we look, the clearer it becomes, who owns the rights.

At times it really is exhausting to wait and stalk, to be constantly on prowl, it is easy to freeze up or die of exposure. For us, working is a process of subverting, morphing and altering, with and through different media.


It is a process that may or may not take on a material form, but when it does –

morphing, altering, appropriating and recontextualising will be extended to materials as well. Art-objects that emerge are somewhere between raw & polished, material & immaterial, organic & industrial. In part, they seem raw and authentic, in part they are already branded even before becoming art-objects.

They can melt, drip, dry, crack, burn, reveal their grittiness, their industrial or organic origin and/or the ease with which the materials seem to have been sourced. And for a brief moment it looks as if they have managed to escape into the realm of the ’real’, but in the end, one way or another, the messiness and roughness of products and materials becomes flat, an image.


So what remains is a heavily mediated existence. Exhibitions have become fictional in a way, they need to be pieced together –
by looking at a variety of images online, trying to reconstruct the exhibition from the scraps of its digital existence (definitely) & by looking at the physical objects at the gallery space (maybe). Art is in the cracks, in the fiction, in-between different media.

Yet, these cracks are often visible from only so far and art gets produced within small microclimates. Like, yes, we just took it, mixed it, altered and extended it, and no, we didn’t care. But what if the force of altering and extending is not strong enough to be seen from the outside? And even though art is a place where it’s ok to want the world to end,2 there’s the sneaking doubt – what if the supposed acceleration leads nowhere and we just end up contributing to the mounds of carcasses along the road?

Text Keiu Krikmann

Installation View

Installation View

Michele Gabriele

Michele Gabriele, SHITTY-SLIPPY-SLUTTY (A beautiful and dangerous night), 2015 Carlson Knives (various materials, PREDATOR knife)

Michele Gabriele

Michele Gabriele, SHITTY-SLIPPY-SLUTTY (A beautiful and dangerous night), 2015 (various materials, PREDATOR knife)

Kai Huegel, Herbs

Kai Hügel, Iced Herbs, 2015 (various vietnamese herbs, LED light, water)

Kai Huegel, Herbs

Kai Hügel, Iced Herbs, 2015 (various vietnamese herbs, LED light, water)

Kai Huegel, Fire Jelly

Kai Hügel, Iced Fire Jelly Fish, 2015 (fire jelly fish, water)

Jake Kent, Patch

Jake Kent, Hanging out in someones else´s puddle, 2015 (silk-screened patches)

Jake Kent

Jake Kent, Dropping the A Bomb, 2015 (digital print on silk viscose velvet, silk-screened patches, handmade tassles)

Dorota and Egle

Dorota Gaweda & Eglé Kulbokaité, #CaptiveCEOsToBeReturnedToTheWild, 2015 (scarified eggplants and vinyl stickers)

Dorota and Egle

Dorota Gaweda & Eglé Kulbokaité, #CaptiveCEOsToBeReturnedToTheWild, 2015 (scarified eggplants and vinyl stickers)

Camille Steinum

Camilla Steinum, Toiletpaper, 2015 (digital print on toiletpaper)

Camilla Steinum

Camilla Steinum, Toiletpaper, 2015 (digital print on toiletpaper)

Burkhard Beschow

Burkhard Beschow, Holes, 2015 (wire, metal parts, cloth)

Burkhard Beschow

Burkhard Beschow, Holes, 2015 (wire, metal parts, cloth)

Alexander Endrullat

Alexander Endrullat, Unibody, 2015 (macbook pro welded shut)


Recent Posts

A Conversation about Ergonomic Futures

Lafayette Anticipation associate curator Anna Colin talks to artist Tyler Coburn about Ergonomic Futures, a speculative project engaged with art, design, science, anthropology and writing. In this interview, Coburn discusses the research, production process and network of collaborators of a multilayered project ultimately concerned with the futures of humankind. Anna Colin: When one comes across your museum seats Ergonomic Futures (2016—) in contemporary art exhibitions—and soon in natural history, fine art, and anthropology museums—they look… [read more »]

nils lange + saliva : l’eau des algues

L’Eau des Algues Two alchemists already aware of each other’s Instagrams meet for the first time in a gay sauna. They are swimming; it’s the Hood By Air afterparty in Paris. They are Lukas Hofmann and Nils Amadeus Lange. Months later, they meet again. They are on the edge of yet another steaming pool; it’s the Manifesta Biennale closing event at Cabaret Voltaire. They are performing the perfume titled “L’eau des Algues.” Head notes: Zürich… [read more »]

Toward a Low Key Voting System Where Votes Are Actually Considered | Adrian Massey

While reading A Very Short Introduction to Game Theory, I came across the following passage, “If you want people to vote, we need to move to a more decentralized system in which every vote really does count enough to outweigh the lack of enthusiasm for voting which so many people obviously feel…Simply repeating the slogan that ‘every vote counts’ isn’t ever going to work, because it isn’t true.” I was jarred. For me, anecdotally knowing… [read more »]

Tough Luck | Tyler Reinhard

When life is being super unfair, just do what we all do: suffer the consequences. I wake up and the first thing I do is check my phone. A convenient euphemism for using Facebook’s machine learning techniques to discover which 300 entries are statistically most likely to stand out from the tens of thousands of brain dumps my friends and family have produced over the last 48 hours. Impressed by what Facebook provides, I think… [read more »]

America Is Hard to See: A Guide to not being depressed about US electoral politics this November

In order to make sense of state politics in the birthplace of statistical marketing and the internet, one has to be wary of the effects of these technologies on the country’s popular media. In a time when our news and advertisements are tailored to our pre-recorded political opinions, it can be especially difficult to empathize with differing political views. Likewise, learning about the histories of state politics is not encouraged by platforms that profit from… [read more »]

On self-care and the election | Eva Saelens

We can get together and laugh about it. We can heave sighs and express disbelief, but it’s never enough. This presidential election year has lasted for years, and they sit on citizens like a slick film. We feel touched by an unshakable germ, invaded by a blood-sucker, afflicted by a social cancer, drained of the plump vitality of life and the amazing liberty of choices, and transformed into a cynical, depressed shrivel. After being touched… [read more »]

Swarovski Crystal Meth at National Sawdust

Swarovski Crystal Meth, a collaboration between Ser Serpas, Daniela Czenstochowski and Gia Garrison for the National Sawdust “Selkie Series” performances, curated by Alexandra Marzella. Music composed and produced by Daniela Czenstochowski Poem by Sera Serpas Sound Edit Mateo Majluf Vocals Sera Serpas, Gia Garrison and Daniela Czenstochowski All Images Olimpia Dior i went to the desert con mi mama outlet store shopping is fried onto mi conciensa, big bags, wins bigger losses fragmented lux economy… [read more »]

Hasbeens and Willbees Auction @ Romeo Gallery

Shop items from the most recent Hasbeens and Willbees luxury auction now! Featuring Bjarne Melgaard, Bror August, Women’s History Museum, Lou Dallas, Hermes, Gautier, and more. All photography Dillon Sachs Styling Avena Gallagher Hosted by Rome Gallery NYC


What is a piece of clothing that “works”? Who is working whom? Is the one who poses the one who actually “works” hardest? The S/S 2017 collection of Berlin-based, Swedish- Vietnamese designer NHU DUONG entitled ‘WORK COLLECTION’ plays with the ideas of professionalism, leisure and appropriateness through a range of garments that are inspired by work outfits and hobby uniforms. Overalls, raw denim outfits, kung-fu pyjamas, biker pants, baggy tights and gloves, bomber-jackets, bomber suits,… [read more »]

Preparing to Welcome the Chthulucene | Agustina Zegers

Preparing to Welcome the Chthulucene is a text made up of living exercises to accompany Haraway’s theorization of the Chthulucene and her upcoming book Staying With the Trouble: Making Kin in the Chthulucene. Haraway posits that not only should we name the Anthropocene carefully (including the terms Capitalocene and Plantationocene within its narrative) but that we should also be using this crucial ecological timeframe to move towards a dynamically multi-species, “sym-chtonic“, sym-poietic future: the Chthulucene.… [read more »]