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INDEBT



2024

PROGRAM
   Gerrit Rietveld X UvA ...    
   The Games We Play ...
 

2023

PROGRAM
    Gallery Ellipsis: Millennial Burnout 
    Navigating the Unseen
        • Publication, Bea Secchia    
    2012 Never Happened:
an Epilogue

2022

PROGRAM 
    Plaza
    Less Walls More Bridges
    This Too Shall Pass

2021

PROGRAM
    Mauveine
    Listening to Bonfires
    Do Dreams Require Liquid?
    Objections to the Possibility of Understanding ...

2020

PROGRAM
    Last Christmas
 

2019

PROGRAM
    No Harm Done
        • Publication, Simon Becks
    No Spoon




ABOUT    


INDEBT is a cultural destination and non-profit organization dedicated to ‘creating space’. The fluid project manifests itself through an exhibition program, communal gatherings, and the facilitation of cultural locations throughout the city.
     In both its organizational structure as well as curatorial selection, INDEBT aims to rethink conventions and expectations in the art world and broader creative field.




DO DREAMS REQUIRE LIQUID?



Benjamin A. H. Harpsøe, Soft Moon, 35 x 17 x 15 cm, PLA, 2021

Benjamin A. H. Harpsøe, The Beauty Left Behind, 17 x 15 x 19,5 cm, PLA, 2021


11-06-’21 till 21-06-’21
BENJAMIN A. H. HARPSØE | DO DREAMS REQUIRE LIQUID?
           
INDEBT proudly presents Do Dreams Require Liquid? a solo exhibition by Danish artist Benjamin A. H. Harpsøe. In the selection of works the artist materializes objects seemingly out of dreams with liquids of soft colors, leading the audience to simultaneously feel comfort and discomfort, and the imagination that is possible for us to achieve in the dream state.

    Benjamin A. H. Harpsøe delves into the symbolism of snails, viewing them as representations of the alchemical Rebis, embodying the hermaphroditic divine and the reconciliation of matter and spirit. He reflects on the significance of a snail tattoo on his arm, a personal memento mori inspired by the passing of a childhood friend. This tattoo, akin to the snails depicted in seventeenth-century Dutch paintings, serves as a reminder of life's persistence, even in incremental movements, and ties back to Christiania, the commune where he and his friend grew up.
     Harpsøe questions the modern perception of spiritual connections with objects or places, considering it an antiquated view categorized as 'Animism' by Edward Tylor. He ponders whether this approach adequately fits contemporary circumstances and notes that his work revolves around Animism but not as perceived by Tylor, suggesting that society has moved beyond the confines of the 'Modern.'
     His inquiries delve into the reconciliation of matter and spirit, especially in a world where digital existence significantly influences physical manifestations. In his work he poses contemplations about how individuals can spiritually engage with objects birthed primarily in the ephemeral digital realm and participate in a mystical collective consciousness. Drawing from alchemical symbolism and Jungian psychoanalyst Marie-Louise von Franz's perspective on dream materials, Harpsøe ponders the moisture-dependent life of snails and links this characteristic to the spiritual facets of Animis: Do dreams require liquid?

    Benjamin A. H. Harpsøe (1986 DK) creates art pieces and installations that captivate the viewer by offering an alternative perspective to commonplace notions accepted by society. Harpsøe carries scientific and rational themes into his art and then constructing within them a fantastical. Working with a broad range of media Harpsøe creates distinctive installations that question our spiritual connection to the modern world and whether we have moved beyond modernity into uncharted territory where the division between the two have disappeared entirely.


Vilified Consumption 47 x 42 x 28 cm, PLA, Epoxy, Mother of Pearl pigment, 2021


Gate of Departur, Fluorescent pigment, Polyester pigment, Aluminum, Polyester, 2021


Instant Access, 150 x 44 x 40 cm, PLA, Aluminium, 2021


Emblem of Longevit, 83 x 40 x 48 cm, Rock, Wax, PLA, Modified Dehumidifier, 2021


Mark