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Kim Wawer 

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Selected Exhibitions:



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,
K


IJburg—
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.
Mark

In the depths of blue, there is yellow


2025
Gifts of the Moon (no 1-11)
ceramics, 

M.Simons︎︎︎, Lijnbaansgracht 318,
1017 WZ Amsterdam

Opening: 17th of Oct 17:00-19:00
Opening times: 17th Oct til 22th Nov
Thu- Sat: 13:00 - 18:00

Duo show with Philip Coyne, initiated by Kristoffer Zeiner


Poster by Kristoffer Zeiner

'Well. I was always rather thrilled by these secrets. Or some of them. Some seemed to me far-fetched. The ones that thrilled me even never had any relation to actual life. When you knew me in Dresden and Prague, you would not have thought me a woman invested with awful secret knowledge, now would you?’

‘Never.'

'No. It was just a little exciting side-show. And I was a grimacing little society woman. But now they become true. It becomes true.’

'The secret knowledge?’

‘Yes.'

'What, for instance?’

'Take actual fire. It will bore you. Do you want to hear?’

'Go on.’

'This is what I was taught. The true fire is invisible. Flame, and the red fire we see burning, has its back to us. It is running away from us. Does that mean anything to you?’

‘Yes.'

'Well then, the yellowness of sunshine--light itself--that is only the glancing aside of the real original fire. You know that is true. There would be no light if there was no refraction, no bits of dust and stuff to turn the dark fire into visibility. You know that's a fact. And that being so, even the sun is dark. It is only his jacket of dust that makes him visible. You know that too. And the true sunbeams coming towards us flow darkly, a moving darkness of the genuine fire. The sun is dark, the sunshine flowing to us is dark. And light is only the inside-turning away of the sun's directness that was coming to us. Does that interest you at all?’

'Yes,' he said dubiously.

'Well, we've got the world inside out. The true living world of fire is dark, throbbing, darker than blood. Our luminous world that we go by is only the reverse of this.’

'Yes, I like that,' he said.

'Well! Now listen. The same with love. This white love that we have is the same. It is only the reverse, the whited sepulchre of the true love. True love is dark, a throbbing together in darkness, like the wild-cat in the night, when the green screen opens and her eyes are on the darkness.'


D. H. Lawrence, The Ladybird


^ Love is an incomplete burning, 2025, ceramics


In the depths of blue, there is yellow
 Kim Wawer and Philip Coyne 

The exhibition In the depths of blue there is yellow was produced out of a period of collective reading and research-sharing between Kim Wawer, Philip Coyne and the organising artist Kristoffer Zeiner. During this period the artists shared thoughts about Romantic depictions of the landscape, Black Metal, and read from Gaston Bachelard’s 1948 essay Reveries of Material Interiority, in which he argues that objects possess inner worlds — endless repositories of ideas, associations, and connections —, and that a deeper or truer interiority is accessible through reverie and reflection.

The resulting works touch upon operative representations of landscape and nostalgia for things that never were; the ambivalent relationship between early 20th C. Modernist art and the nexus of desires that fed into Fascism; and how it is that when we look very hard at objects or ideas they seem to descend or unravel.

The show title was taken from the poem Exécutoire, by mathematician come poet Eugène Guillevic. The artists would like to thank M.Simons, Kristoffer Zeiner, George Sinclair, Sophia Simensky, TK and Pablo Rezzonico Bongcam.
Mark
RCargo