Henri Haake
Bad Gateway
o b e l u s 1
49 Forster Str.
10999 Berlin
timeline:
opening Friday 8th November 2024, 6—10pm
the work is hung on the wall
Sunday 11th November 2024 indicatively 4:00pm
How do we employ time?
Some works have been covered.
Some works have disappeared.
Some works have been warded of
Some works moved.
Some works will have me over.
Monday 12th 2024 indicatively 11:00am
So our work disappears
to be of wastelands
What is lost Remains
Sacrificed
to be one layer closer
To your eyes
again Like a ladder
up To Heaven needing
Humanity’s hole
To be held
in place once more
Will anyone
walk up its steps
reading Monday 12th November 2024, 8pm
one of the paintings is removed
the door to the room closed
over is nailed a printed sheet of paper
when they closed my eyes
and opened my memory
people gather again
they come to read
the door is opened
they read
ideas are shared
there is no conclusion
just a temporary coagulation is in place
[ readings:
Clemente Ciarrocca, MR TWENTY by Eileen Myles
Alex Concordia, Skinny Snack
Patrik Gräb, Ortskräfte/Local Forces
Clemente Ciarrocca, What The Shrouded Runaway Was Saying from Flights by Olga Tokarczuk
Alice Bisio, A Guide To Guys by Dave Barry
Henri Haake, Invitation To Touch ]
somehow this flows the blood down, things are less dense now

Henri Haake, Bad Gateway, Installation View

BAD GATEWAY
ab + trahere
draw
away
[keep near]
… in his De Anima1, the work of abstraction retains a key role within knowledge formation. Intellect abstracts form from matter, moving from surface to interface and transforming any given multiplicity into a relational appendix. Abstraction is, evidently, an essential behavior within any economy of survival.
[abstraction at work]
We may work only by a drive to end
end
Old English ende "end, conclusion, boundary, district, species, class," from Proto-Germanic *andiaz (source also of Old Frisian enda, Old Dutch ende, Dutch einde, Old Norse endir "end;" Old High German enti "top, forehead, end," German Ende, Gothic andeis "end"), originally "the opposite side," from PIE *antjo "end, boundary," from root *ant- "front, forehead," with derivatives meaning "in front of, before."
things abandon us
Matter transcends itself in a system of signifiers (language) 2
in the perfect harmony of a circle
that favors speed
may we lead
to a bad gateway
may we see the end
as edge
[afraid to jump]
[jump] … [which] stands for the activity of self-transcendence of an [unclaimable] anatomy into libidinal economy, which imposes its own destiny onto the body and the subject — a destiny of the drive, Triebschicksal. 4
Politics is the unconscious 3
Tuesday night’s playlist: Reya Guts, Endless (Night)———Cindy Lee, If You Hear Me Crying———MyLiC, &HAY———yuu, ++44———John Cage, Souvenir———your breathing slowing down as we fall asleep…
… when property gained hegemony, as it became more and more abstract. The most common example of property is, of course, money. The way money has transformed over time—from goods (livestock and raw resources) to commodity (precious metals) to representatives (paper) to fiat (agreements) to digital (numbers)—is a perfect example of this abstraction. Control diminishes with abstraction, or better reverses; all control you may perceive to have is purely granted, susceptible to be taken away any second.
In face of the free will, the thing does not retain any distinct property for itself, even if possession, as an external relationship, still retains an external aspect. The empty abstraction of a matter without attributes which, in the case of property, is supposed to remain external to me and the property of the thing itself, [may be] in the end something which thought must get the better of. 5
[Relax]
Refrain
… in any X sense, the surface is abstraction of the halted body; but the surface also signifies conditions of error, end, and potential. While being held on surface suffering from some contingency, the activity of being on a surface (or rather the inactivity) puts tension on systems of capture by locating, and waiting. If you are unable to move on because the surface is yet another place of capture, hanging unworried within this failure may free your consciousness from mental demands that have become too overwhelming. Practice begins
she’s wearing the same clothes she dropped on the floor after arriving last night. 6
It was a game. Money meant nothing. Money was an abstraction. [The] guiding belief is in chance, process, and flux. Once set in motion, the game played itself. And it worked. 6
So why, in the dead of night, once our brains finally slowed down, are we so troubled?
— exhibition text by Clemente Ciarrocca
[1] see Aristotle, De Anima, Book III
[2] Tomšič, Enjoying Substance, p.105, in Counter-Signals 4: Identity is the Crisis
[3] Lacan, Le Séminaire, livre XIV, La logique du fantasme, 10 May 1967
[4] Tomšič, Enjoying Substance, p.106, in Counter-Signals 4: Identity is the Crisis
[5] Hegel, Philosophy of Right, §52
[6] Kraus, Summer of Hate
Henri Haake (b. 1989, Lübeck, Germany) is an artist living in Berlin. He graduated with a Meisterschüler diploma from Universität der Künste Berlin in 2016. His paintings and drawings are poetic reflections on everyday life. Through a complex interplay of composition, texture and color, his subjects shift between concealment and revelation. As layers unfold, hidden intricacies and meanings emerge, translating familiar scenes into allegorical meditations on the human condition. Recent solo exhibitions include Floating Worlds, Galeria Nave, Lisbon (2024); OMG, OFFICE IMPART, Berlin (2023); DREAMLINER, Mikael Andersen, Copenhagen (2023); and Honey Lotion, OFFICE IMPART, Berlin (2022)

Henri Haake, Bad Gateway, Installation View

Henri Haake, Bad Gateway, Installation View

Henri Haake, Untitled
2024
Oil, sand and paper on canvas
45 x 30 cm

Henri Haake, Untitled
2024
Oil and sand on canvas
125 x 85 cm

Henri Haake, Bad Gateway, Installation View

Henri Haake, Bad Gateway, reading, Monday 12th November 2024

Henri Haake, Bad Gateway, reading, Monday 12th November 2024
to request the full documentation please email info[at]obelus-obelus[dot]net