Leached soils, acidified seas, polluted atmospheres. We are haunted by the repressed. We can no longer escape its poison. LET’S GET SICK WITH IT!

A shrine for the inner contradictions, absurdities and risks we are indulging into on a daily basis. A solidarization with the facts.

We enter wastelands instead of unspoiled soil and let the artifacts speak for themselves. Colourful assemblages of things that connect the known cosmos, shaky grounds of new divinity and acrid smells that carry us into the sublime. Landfills are the new temples. In a sadistic manner we inhale the here and now. Transformative forces are released. Free radicals. Rituals to unmask the chaos beneath the smooth surface.

What changes when we religiously worship the power of toxicity? Can a cosmic connection be achieved in our time of disaster through a cult of pollution?

In a processual exhibition, Anna Lerchbaumer and Kilian Jörg venerate the beauty of the oil stains, the sublimity of technoscrap, the enlightenment of radioactivity and the transcendence of extinction. Perhaps our new gods will be smelly zombies. LET`S MEET AT THE END OF THE WORLD and let’s dance in the intoxication of poisoning!

Kilian Jörg is a philosopher and artist, nomadically traveling between Vienna, Berlin and Brussels. He is the founder of the collective philosophy unbound and is mainly concerned with ecological epistemology, as well as the transdisciplinary interfaces between philosophy and art. Latest publications: with Jorinde Schulz: The Club Machine (Berghain), Textem 2018; Backlash - Essays on the Resilience of Modernity, Textem Spring 2020.

Sound and video artist Anna Lerchbaumer ( *1989 in Innsbruck, Austria) takes a humorous as well as critical approach to our technological developments. Anna creates sound performances and expansive installations in which sculptural aspects play an important role. She spans a field between visual art, music and performance. Objects become instruments, balloons become performers, and field recordings become spatial installations.

An examination of the monstrous hopes we project into new technologies and an exploration of the artistic possibilities they offer. It makes the poetic audible and visible in the everyday and the inconspicuous. A change of perspective, a desecration of electrical devices and a way to loop around the big findings.

Shaped by country air, technology and culture in constant exchange with friends, things and artists as well as a member of Anulla. Her work has been shown at the Galaxy Museum in China, Headquarters and Krinzinger Projects in Vienna, among others.