From April 13th onwards, Danish artist Sissel Marie Tonn who is based in the Netherlands, will be featured in the group exhibition “Hyperobjects” at Ballroom Marfa, Marfa, TX, with her creative art experience “The Intimate Earthquake Archive” (2016-ongoing).
“Hyperobjects” features installations from The Center for Land Use Interpretation, Megan May Daalder, Tara Donovan, Nance Klehm, Postcommodity, Emilija Škarnulyte, and Sissel Marie Tonn with Jonathan Reus, as well as objects and loans from David Brooks, the Center for Big Bend Studies, the Chihuahuan Desert Mining Heritage Exhibit, Rafa Esparza, Raviv Ganchrow, Paul Johnson, Candice Lin, the Long Now Foundation, Iván Navarro, the Sul Ross Herbarium, the Rio Grande Research Center, Oscar Santillán, and The University of Texas at Austin McDonald Observatory.
In Timothy Morton’s 2013 book, “Hyperobjects: Philosophy and Ecology After the End of the World,” Morton defines hyperobjects as entities that are bewilderingly huge—global warming, plastic in the ocean, nuclear waste—and seemingly incomprehensible. Morton argues that hyperobjects create an ecological awareness far beyond normal human comprehension. To understand a hyperobject, we must transform the way we see and experience the universe. In line with this idea, the exhibition seeks to create encounters with artworks and non-art objects that de-center and expand the scale of human perception.
Sissel Marie Tonn installs a new configuration of her “Intimate Earthquake Archive,” allowing visitors to wear vests that transmit seismic data from man-made earthquakes caused by gas drilling. Nance Klehm digs holes in Ballroom’s courtyard: burrowing, creating heaps, analyzing soil, cataloging detritus, and giving visitors an opportunity to be physically immersed in earth.
Founded in 2003 by Virginia Lebermann and Fairfax Dorn, Ballroom Marfa is a 501(c)3 non-profit organization and a dynamic, contemporary cultural arts space where varied perspectives and issues are explored through visual arts, film, music, and performance. The gallery is housed in a converted dancehall that dates to 1927.
As an advocate for the freedom of artistic expression, Ballroom Marfa’s mission is to serve international, national, regional, and local arts communities and support the work of both emerging and recognized artists working in all media. Ballroom Marfa is particularly interested in helping artists and curators achieve projects that have significant cultural impact but would be impossible to realize in a traditional gallery or museum setting.