Kim Wawer 

new images and additional content of the “Dig-project” is being updated..

Selected Exhibitions:

Fire, Earth & Saté
Said the Snail to the Human
Lounge For Now People
Freed From Desire
Virtue and the City
Boterhammen Chow
Positive Bodies
Abject Shell

Dig 1
Dig 2
Dig 3
Dig 4
Dig 5
Dig 6
Dig 6
Dig 7
Dig 8
Dig 9
Dig 10

Dig 11

Dig 12

 Dig 13

Dear D,
It was a pleasure to meet you, my time with you reminded me that we were near these, that made me feel calm, and in the mood of eating mussels. But jet during my stay, I felt as if I was interrupting you, I guess it was because you were carrying a lot of weight on your shoulders at the time. Our meeting was loaded with political conflict but that was not your fault, i admired how you stood tall between all of them, all the chaos that you where not part of. You provided network, connections to other places, your openness made it easy to project or imagine those other places. (not a lot of places are so generous) I hear from someone that birds liked to visit you before, I guess they still do, but they just shapeshifted somewhat. The reason why I’m writing you is because I wanted to apologise for leaving you so early, without really getting to know you. I guess I was afraid to get too close.

All the best and good luck to you,

14:12 -
There are no animals in this ground, that shows the soullessness character of this material. It’s like I'm meeting a very grey person, hoping to find something interesting to talk about. It is obvious that ground is not alive. I do still think it's nice to sit in the pit, with my eye height on the ground level. it's a nice place to Be, even though it is a bit lonely and empty. Camera is dead, have to charge again. Maybe I can still do something about the shape later.


paranymph (slush puppies)


Abject Shell
Ceramic, fabrics

paranymph (slush puppies)
June 3 - 14, 2016
De Fabriek, Eindhoven
Studio for Immediate Spaces

            Abjection For Julia Kristeva, the intolerable, or abject, body leaks wastes and fluids, in violation of the desire and hope for the “clean and proper” body, thus making the boundaries and limitations of our selfhood ambiguous, and indicating our physical wasting and ultimate death. In her view, human and animal wastes such as feces, urine, vomit, tears, and saliva are repulsive because they test the notion of the self/other split upon which subjectivity depends.

The skin of milk, for instance, puts one in mind of the thin skin membrane that defines the borders and the limits of the physical body; because human skin provides only a relatively flimsy and easily assaulted partition between the body’s inside and the world outside, this milky reminder disturbs our distinctions between outside and inside, I and other, moving us to retch, and want to vomit in an acute attempt to expel the scum from our being (Kristeva, Powers of Horror 2–3).

As Elizabeth Grosz observes, “Abjection is a sickness at one’s own body, at the body beyond that ‘clean and proper’ thing, the body of the subject. Abjection is the result of recognizing that the body is more than, in excess of, the ‘clean and proper’” (78). The abject body repeatedly violates its own borders, and disrupts the wish for physical self-control and social propriety. We disavow our excretory bodies because they are signs of disorder, reminders of the body’s ambiguous limits (its leaking from multiple orifices), and of its ultimate death: “Such wastes drop so that I might live, until, from loss to loss, nothing remains in me and my entire body falls beyond the limit—cadere, cadaver” (Kristeva, Powers 3). © 2004 State University of New York Press, Albany