Supernatural. Skulpturale Visionen des Körperlichen



Following the exhibition ALMOST LIVE, which presented hyper-realistic sculptures extending up as far as the turn of the millennium by the pioneer- generation, the exhibition SUPERNATURAL asks about the future of corporeality in the Anthropocene. Given the technological developments in biogenetics, man will be in a position in the future to existentially alter everything living, nature, the animal world and the images of man. What will bodies look like in the future? Who or what will we be? In what kind of environment will we live?  The exhibition SUPERNATURAL presents responses from the realm of hyper-realistic and realistic sculpture.

The forward-looking works not only reflect impacts of the digital revolution and genetic technology on “post-human” man and the environment, they also illustrate by means of hybrid creations that in our day the borderlines between nature and culture have become fluid. Increasingly, technical innovations also play a role in the development of the latest hyper-realistic sculptures.

When the artists perfect their production processes using 3D printing and extend the sculptural limits in the direction of robotics and synthetic biology, for them too, new design possibilities open up that are located somewhere between artefact, biology and technology.

Concept: Nicole Fritz

Curators: Nicole Fritz and Maximilian Letze


Mat Collishaw

The Machine Zone, 2019

This work is inspired by the historic behavioural experiments of American psychologist B.F. Skinner (1904-1990) which explored the idea of random reward. Skinner’s work has been widely referenced in relation to the algorithms which drive interactions on social media, tapping into a subconscious primal side of the brain which is involved in motivated behaviours, thus exploiting a vulnerability in human psychology. Skinner’s ‘operant conditioning chamber’ demonstrated that random reward created a kind of constant uncertainty that then encouraged a behavioural loop.

Skinner’s ghost has persisted into the modern day, a quiet spectre among our statuses, likes, comments, and shares. Collishaw worked with a special effects designer to create these animatronic bird models which exhibit random repetitive actions.



Le Laboratoire de la Nature

Le Laboratoire de la nature is about the representation of nature and, more particularly, Western man’s relation to nature, based on the construction of scientific discourses that reveal our penchant for classification and collection.
At the same time, this exhibition evokes the modernity of the inventors of photography at a time when scientific developments were revolutionising man’s vision of nature.

The exhibition comes across as a contemporary homage to William Henry Fox Talbot, best known as the inventor of the photographic process which bears his name.

Now You See Me

Mat Collishaw is currently exhibiting two works at TJ Boulting in a group photography exhibition that coincides with the opening of Photo London.

Please visit TJ Boulting’s website here for more information.

A Weed is a Plant out of Place

Weeds are about survival in alien territory. Some grow in harsh and uninhabitable territories where one might think there was not enough soil to support any form of life, such as roadsides, ruins, rubbish dumps, construction sites and through cracks in exposed walls. It has been said that “in the struggle for existence a bad weed is a prince.” They can be toxic, deep-rooted and stubbornly hard to get rid of and they often appear where they are not wanted such as cultivated sites and manicured gardens. Depending on their properties, their ingestion can be deadly or resuscitating, and they have for centuries been variably concocted for the creation of both poisons and medicinal plants. Weeds have been described in myths and literary texts since at least the first century AD, from Pliny the Elder’s Natural History, through to Shakespeare’s descriptions of plants and potions, and on to writers of today such as Richard Mabey who recently published a bestseller on the subject. They have also sparked the interest of visual artists over time, and inspired works such as Dürer’s famous drawing The Great Piece of Turf and Leonardo da Vinci’s detailed sketches of wild tufts of grass. Today more than ever, weeds are appearing in works of art in various forms and mediums.

This exhibition explores the interpretation of weeds by contemporary artists within a socio-historical context. Elegant patterns of weeds and wildflowers in specimen books that date back to the eighteenth century belong to the fascinating intersection between science and art. Examples of these ancient manuscripts and collected specimens will accompany the works of today in an eclectic but focused survey and a carefully orchestrated installation. The lush grounds and gardens of Lismore Castle will be an integral and crucial part of the exhibition. Nourishment, Michael Landy’s portfolio of twelve etched ‘portraits’ of weeds, was one of the primary incentives for A Weed is a Plant out of Place, and it will feature in the gallery along with works by other contemporary artists. Vintage photographs by Anna Atkins and Harry Callahan will also be included.

The underlying premise of the exhibition is the theme of migration. As their seeds set into the soles of travellers, or into the structures of ships and railroads, weeds follow the paths of migrants and resettle in distant environments across the globe. A poignant parallel can be made between the spread of these plants and human migration. Like weeds, immigrants seek to settle in foreign lands where they are often rejected, yet in which they blatantly resist a hostile and inhospitable environment to gather and replant their own roots. The subject of refugees and shifting populations is particularly critical in current times as we witness the desperate flight of North-African and Middle-Eastern men, women and children to the coasts of Italy and Greece for instance, or over the Turkish border. America has seen a similar influx from Latin America over the Mexican border, and there are constant shifts in migration throughout the African and Asian continents. Ireland too has its own history of dispossession. According to the New York Times, nearly 190 million people, about three percent of the world population, lived outside their country of birth in 2005. In the words of Edgar Anderson (1952): “the history of weeds is the history of man.”

For more information, please visit the Lismore Castle Arts website here.