KO

KO

The Secret Life of Objects

In this exhibition, part of Ultima festival, things are not passive. They fall, roll, breathe, trigger, resist, collapse and answer back.

At its centre is The Way Things Go by Peter Fischli and David Weiss, never screened officially in Oslo before now. In the film, everyday objects set one another in motion through an elaborate chain reaction, one action tipping into the next. The work can also be heard as a musical composition: a chance-based percussion piece whose score and instrumentation are one and the same.

Some works ask for your ears, others for your hands. Svetlana Maraš’s Jazz can be moved around the space, while Table Book turns the room into a shared musical world. Samvær Under Tilsün’s custom-built pachinko machine invites a different kind of play: physical, addictive and never the same twice.

Other works ask for stillness. In Dimitri de Perrot’s Into the Dirt, you are invited to lie down and listen as sound rises from the ground beneath you. Cod.Act’s πTon/2 breathes and twists according to its own rhythms, somewhere between creature and machine.

Running through the exhibition is a tension between balance and collapse, accident and control. We are invited to enjoy the secret life of objects, unstable and unpredictable.

The Secret Life of Objects

In this exhibition, part of Ultima festival, things are not passive. They fall, roll, breathe, trigger, resist, collapse and answer back.

At its centre is The Way Things Go by Peter Fischli and David Weiss, never screened officially in Oslo before now. In the film, everyday objects set one another in motion through an elaborate chain reaction, one action tipping into the next. The work can also be heard as a musical composition: a chance-based percussion piece whose score and instrumentation are one and the same.

Some works ask for your ears, others for your hands. Svetlana Maraš’s Jazz can be moved around the space, while Table Book turns the room into a shared musical world. Samvær Under Tilsün’s custom-built pachinko machine invites a different kind of play: physical, addictive and never the same twice.

Other works ask for stillness. In Dimitri de Perrot’s Into the Dirt, you are invited to lie down and listen as sound rises from the ground beneath you. Cod.Act’s πTon/2 breathes and twists according to its own rhythms, somewhere between creature and machine.

Running through the exhibition is a tension between balance and collapse, accident and control. We are invited to enjoy the secret life of objects, unstable and unpredictable.