Cable cuts, energetics, and gunk: moving back and forth between a group of core subjects, Reflexologies converts the past five years of Nina Canell's sculptural work into a 384-page book.
It is interrupted throughout by a lagged conversation and three new texts: Martin Herbert reflects on subsea cable stumps and the generative potential of gaps; Jennifer Teets considers flexible pneus and viscous processes; while Robin Watkins tackles a slow real-time collaboration. Images have been grouped in a loosely chronological sequence, allowing exhibition views to fold out into parallel trajectories that foreground Canell's ongoing preoccupation with the configuration and breakdown of material relations.
Born 1979 in Växjö (Sweden), Nina Canell lives and works in Berlin. Her installations give concrete expression to the lightness and intangibility of the everyday. The natural materials she presents—water, stone, air, earth, wood, copper—are traversed by electric arcs and heat sources, giving rise to delicate, ephemeral physical reactions that reveal and underscore our innate relationship with our immediate environment. Her work has recently been shown at the Moderna Museet (Stockholm), the Camden Arts Centre (London), the Sydney Biennial, at MoMA and the Swiss Institute (New York), and at the 13th Lyon Biennale.