Scary Good

Rebekka Benzenber, Monika Grabuschnigg, Constantin Hartenstein, Eliška Konečná, Mary-Audrey Ramirez

Curated by Anna Meinecke, Anton Janizewski

At Berlinskej Model, Prague, Czech Republic

September 01— 23, 2022

Photography by Urna Kuzimor

For the third edition of SUMO, Berlinskej Model hosts Scary Good, a curatorial project by the Berlin-based contemporary art gallery Anton Janizewski and the online magazine gallerytalk.net.

There is pain and excitement in creation. As soon as an idea starts manifesting into something that feels too good, one is drawn to distrust the good feeling. More often than not, anticipated greatness reveals itself as trivial rather than extraordinary.

While truly remarkable in its abstraction is hard to work toward, coolness is attainable as a composition of codes. Executed with nonchalance, a carefully curated and controlled aesthetic protects one’s true desires. Under the shield of recognition pursuing the promising appears to be less frightening albeit dangerous.

The exhibition is both an homage to and a deconstruction of the contemporary cool, toying with clichés of roughness while ultimately neglecting them. Rebekka Benzenberg (DE), Monika Grabuschnigg (AT), Constantin Hartenstein (DE), Eliška Konečná (CZ) and Mary-Audrey Ramirez (LU) draw from fetish and fitness culture, referencing video game creatures, bended bodies, and deadly fruit. Their art and personas merge into what presents as an inviolable surface under which true dedication, doubt, critique, tenderness, and vision are to be discovered.

Scary Good is a flirt with the beauty of darkness, taking the world’s wickedness as a starting point to tap into a deeper examination of shared hopes and fears. It allows within the wish for contentment a craving for triumph. On the off chance that scary good feeling might just hold true.

— Berlinskej Model

Berlinskej Model – Scary Good – Overall view
Left – Eliška Konečná Květ (Floral), 2022, upholstery, embriodery; french polish, 75 × 105 cm Right – Rebekka Benzenberg The Laugh of the Medusa, 2022, mirror, resin extasy pills, 66 × 48 cm
Left – Rebekka Benzenberg The Laugh of the Medusa, 2022, mirror, resin extasy pills, 66 × 48 cm Right – Constantin Hartenstein Von Hinten, 2022, Epoxy resin, GDR pigment, steel, 48 × 73 × 1 cm
Left – Eliška Konečná Fontana (Fountaine), 2022, upholstery, embriodery; french polish, 75 × 105 cm Back right 9. Rebekka Benzenberg like baby needs mom, 2022, grid and nylon down suit, 200 × 200 cm
Left – 1. Mary-Audrey Ramirez Horse Head Nebula (Nr.1) Weapon (Nr.1), Weapon (Nr.2) 2020, metal, fluff, pvc fabric, nylon fabric, webbing Right – Eliška Konečná Fontana (Fountaine), 2022, upholstery, embriodery; french polish, 75 × 105 cm
Mary-Audrey Ramirez Horse Head Nebula w grey QT Critter, 2020, metal, fluff, pvc fabric, nylon fabric, webbing, 250 × 35 × 45 cm
Rebekka Benzenberg like baby needs mom, 2022, grid and nylon down suit, 200 × 200 cm
Monika Grabuschnigg Decade of Devotion, 2021, Aluminium, glazed ceramic, 7 × 123 × 51 cm
Constantin Hartenstein Von Hinten, 2022, Epoxy resin, GDR pigment, steel, 48 × 73 × 1 cm
Constantin Hartenstein Warmer Sommer, 2022, Epoxy resin, GDR pigment, steel, 97 × 73 × 2 cm
Constantin Hartenstein – ADJUST – performance documentation @ Galerie im Turm Berlin
Monika Grabuschnigg Love (e), 2022, Pencil on paper, 47 × 35 cm
Mary-Audrey Ramirez, "Ein Fahrradunfall", 2015, yarn on linen on PVC, 52 x 50 cm. Courtesy the artist, Martinetz, Cologne and beacon, Munich

Previous Articles