Don’t Be Evil (Last Breath at the Slughole), Walla Walla Time, 2019. Ballostar Mobile. Bern, CH. Foam, branches, alga powder, acrylic paint, doll head, paper clay, attrap surveillance camera. Photos by Ursina Leutenegger.
DON’T BE EVIL
(LAST BREATH AT THE SLUG HOLE)
The group show Walla Walla Time at Ballostar Mobile in Bern takes its inspiration from the lime green color that is employed by some prisons in Switzerland for its calming effects and the absurdity of painting a room as a strategy versus the lack of dealing with structural inequalities and the resocialization of inmates.
For the show Anna Walther contributed with the piece Don’t Be Evil (Last breath at the slug hole), which borrows its title from the former motto of the tech giant Google. The dystopian installation is a tableaux of climate crisis, control, fear and apathy: a clown sculpture is watching over its sleeping baby doll lying in its cradle of a dried up swamp, while the two of them are being watched by a dummy surveillance camera on legs.
The show was curated by Vera Mauerhofer and Cyril Hübscher
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Don’t Be Evil (Last Breath at the Slughole), Walla Walla Time, 2019. Ballostar Mobile. Bern, CH. Foam, branches, alga powder, acrylic paint, doll head, paper clay, attrap surveillance camera. Photos by Ursina Leutenegger.
DON’T BE EVIL
(LAST BREATH AT THE SLUG HOLE)
The group show Walla Walla Time at Ballostar Mobile in Bern takes its inspiration from the lime green color that is employed by some prisons in Switzerland for its calming effects and the absurdity of painting a room as a strategy versus the lack of dealing with structural inequalities and the resocialization of inmates.
For the show Anna Walther contributed with the piece Don’t Be Evil (Last breath at the slug hole), which borrows its title from the former motto of the tech giant Google. The dystopian installation is a tableaux of climate crisis, control, fear and apathy: a clown sculpture is watching over its sleeping baby doll lying in its cradle of a dried up swamp, while the two of them are being watched by a dummy surveillance camera on legs.
The show was curated by Vera Mauerhofer and Cyril Hübscher
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