Primal_ditch_BP by Hannah Rose Stewart, Tea Strazicic, and Lara Joy Evans at GMK, Zagreb

 

Primal_ditch_BP

Galerija Miroslav Kraljević

Primal_ditch_BP

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević

Primal_ditch_BP

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević

Primal_ditch_BP

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević

Galerija Miroslav Kraljević

Primal_ditch_BP

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević

Primal_ditch_BP

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević

Primal_ditch_BP

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević

Primal_ditch_BP

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević

Primal_ditch_BP

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević

Primal_ditch_BP

Hannah Stewart, Tea D. Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević

 

Primal_ditch_BP

Hannah Rose Stewart, Tea Strazicic, and Lara Joy Evans

Galerija Miroslav Kraljević, Zagreb

March 23 – April 7, 2017

 

An invisible protocol
The lore of traditional moist
Never written down or explained
Digged out from the soil
In Silence and respect
Not using eyes
But limbs of many amphibians

Pitch black, I can’t see. My arms, extending outward from my body reach out for some possible obstacle.

Nothing.

An environment in a state of moist, muddy, media sauce, minor shifts in deep fantasy, floaters, unknowing, calcified spine, loud knowledge, first person shooter, expansion packs for software I steal or program myself with, fleshy artifacts, attempts at transcendence, murky collective sequences of transformation and evolution.

Primal_ditch_BP (before present), a narrative set in a cave, parallels to the archaeological exploration of its uncharted terrain. Hannah Rose Stewart, Tea Strazicic, and Lara Joy Evans collectively present a documentary of this dark ecosystem and some of its various extracted artifacts.

I am here, still in a semi-blind poorly ventilated truth and I thought the seemingly bright light of new technology, further data extraction, and industrial fluorescents would have already lightened up at least parts of the depths of this cave. I was wrong. Even with continuous cartographical endeavors, this environment has remained mostly unexplored since the ritualistic cave dwellings of the Paleolithic era. Speculations of age have led me only to failed attempts at charting its pits. We may be much older and darker than we have proclaimed.