David Habets

Ceramic mask made as FUTURE MONSTERS i.c.w Ivano Troisi and Antonio Iannielo

Ceramic mask made as FUTURE MONSTERS i.c.w Ivano Troisi and Antonio Iannielo

Performance by three masked performers FUTURE MONSTERS i.c.w Ivano Troisi and Antonio Iannielo

Echo, Echo is a new art installation at Radius CCA in Delft, a collaboration project by David Habets & Marjet Zwaans about lichen economics. At the heart of Radius’ circular body, the work functions as a set piece to gather, imagine, and reflect upon radical new possibilities for a more just economy. A regenerative installation, able to move from museum, to schools, to municipality, back to the museum. Echo, Echo re-imagines the abstract schemes of ecological economics as a space for reflection and contemplation. Making porous the rigidities of black and white schematics. The fragile paper scrolls sway with people passing by. Through the perforations, the benches are bathed in a porous light. Echo, Echo affords to reflect upon what has disappeared, what has become ungraspable, what has died at the heart of what we call progress. Like aging lichens, we can only grow so big so fast, before having to slow down. Growth and disappearance inevitably go hand in hand.

Echo, Echo is a new art installation at Radius CCA in Delft, a collaboration project by David Habets & Marjet Zwaans about lichen economics. At the heart of Radius’ circular body, the work functions as a set piece to gather, imagine, and reflect upon radical new possibilities for a more just economy. A regenerative installation, able to move from museum, to schools, to municipality, back to the museum. Echo, Echo re-imagines the abstract schemes of ecological economics as a space for reflection and contemplation. Making porous the rigidities of black and white schematics. The fragile paper scrolls sway with people passing by. Through the perforations, the benches are bathed in a porous light. Echo, Echo affords to reflect upon what has disappeared, what has become ungraspable, what has died at the heart of what we call progress. Like aging lichens, we can only grow so big so fast, before having to slow down. Growth and disappearance inevitably go hand in hand. photography by Gunnar Meier

project of We Are All Extremophiles nitrophiles - jan van eyck academy, maastricht, 2021- experiment with 305 agar agar prints on the windows of the atrium - duration 3 months. Light, space and air flow through the van eyck building. Energy dissipates as if it is in endless supply. The windows are outlined by dark edges against the spotless hygienic white walls of its modern architecture. The glass is thin, as see-through as glass can be. The building is a ruthless substrate of, “what has proven itself by now, a sterile world. It is a blueprint of an age of optimism, that in hindsight looks self-destructive.” It is a substrate on which life sciences accumulate On sheets of glass, covered with sterile see-through gelatines. Affording the growth of a new order. An industry that isolates the natural into nothing more than an output of abstract chemical relations. nitrophiles is an installation made by adding a seemingly insignificant layer onto the windows of the atrium of the academy. A layer as thin as lichens themselves. A living substrate, gelatinous and responsive to the atmosphere of the place. It is the substrate for archival prints of lichen taken in the surroundings of maastricht, embedded in a yellow-orange pigment called parietin.

nitrophiles is an installation made by adding a seemingly insignificant layer onto the windows of the atrium of the academy. A layer as thin as lichens themselves. A living substrate, gelatinous and responsive to the atmosphere of the place. It is the substrate for archival prints of lichen taken in the surroundings of maastricht, embedded in a yellow-orange pigment called parietin.

nitrophiles is an installation made by adding a seemingly insignificant layer onto the windows of the atrium of the academy. A layer as thin as lichens themselves. A living substrate, gelatinous and responsive to the atmosphere of the place. It is the substrate for archival prints of lichen taken in the surroundings of maastricht, embedded in a yellow-orange pigment called parietin.

One of a series of hundred pencil drawings of the slow development of lichen.

One of a series of hundred pencil drawings of the slow development of lichen.