! (Conny Freyer, Eva Rucki, Sebastien Noel)

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1 Troika (Conny Freyer, Eva Rucki, Sebastien Noel) German, b German, b French, b. 1977

2 Table of Content Statement Selected Projects Solo Exhibitions 2015 Limits of a known Territory NC arte Bogota, CO 2015 Cartography of Control Kohn Gallery Los Angeles. CA 2014 Persistent Illusions Daelim Museum Seoul, Korea 2013 The far Side of Reason Galeriá OMR, Mexico City, MX Curriculum Vitae

Statement Eva Rucki (b. 1976, Germany), Conny Freyer (b. 1976, Germany) and Sebastien Noel (b. 1977, France) have worked together as an artist trio since 2003.

3 Statement Eva Rucki (b. 1976, Germany), Conny Freyer (b. 1976, Germany) and Sebastien Noel (b. 1977, France) have worked together as an artist trio since Their work manipulates our perception of the world and ask the question why we know what we know, and whether this knowledge is certain. Troika explores ideas around man made structures, control, repetitive actions and systems and how these coincide, conflict, or unite with the unpredictable, the unknowable, and irrational. Troika s work has been shown in numerous exhibitions at institutions such as: the Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany (2013), the Victoria & Albert Museum London (2009), The Art Institute of Chicago (2009), the MoMA New York (2008), Tate Britain (2007), and their work is represented in the permanent collections of the Israel Museum in Jerusalem, British Council, the Art Institute of Chicago, the Victoria and Albert Museum in London and the Museum of Modern Art in New York. In 2014 Troika was selected to present their work Dark Matter at Unlimited, Art Basel. Upcoming, current and past solo exhibitions include Cartography of Control, a solo show at Kohn Gallery, Los Angeles (10 January - 7 February 2015), Limits of a known territory, a solo exhibition at NC Arte, Bogota, Colombia (June September 2015), Persistent Illusions, a solo show at the Daelim Museum, Seoul, Korea (10 April Oct 2014), The far Side of Reason, OMR, Mexico City, Mexico (April June 2013).

4 Selected Projects 2015 Limits of a known Territory 2015 Polar Spectrum 2015 Circular ruin 2014 The sum of all Possibilities 2014 Testing Time 2014 Cartography of Control 2014 Dark Matter 2014 Calculating the Universe 2014 Time only exists so not everything happens at once 2014 Labyrinth 2014 Electroprobe Installation # Squaring the Circle 2013 Small Bang 2013 Arcades 2012 The Weather Yesterday 2008 Cloud

5 Limits of a known Territory Exhibition view NC-arte, 2015 Limits of a known territory site specific installation 2015

Limits of a known territory 2015 Limits of a Known Territory is a site specific installation shown for the first time at NC-Arte, where more than 200 square meters of the foundation space are

6 Limits of a known territory 2015 Limits of a Known Territory is a site specific installation shown for the first time at NC-Arte, where more than 200 square meters of the foundation space are transmuted into a crepuscular, seemingly abandoned environment, flooded with water. The gallery echoes with the variable sound of eleven streams of water dripping from the ceiling, behaving in different and unfamiliar ways: some streams of water are frozen in time, others running slower, faster or in reverse. The visitor can navigate the space walking over stones, scattered across the floor. The subjective and intangible experience of time is made physical by the controlled choreography of the varying speeds and illogical directionality of the water streams. These assume in the empty space of the gallery the somewhat architectural value of liquid pillars while imbuing the space with a visual sense of rhythm. Drawing upon Troika's interest in the connections between randomness and the exercise of control, Limits of a Known Territory becomes the simulation of a parallel reality or the stage for a glitch futuristic reminiscence of what might once have been a casual occurrence.

8 Limits of a known Territory site specific installation Exhibition view NC-arte, 2015

Polar Spectrum 2015 Polar Spectrum is made of its own tension between codependency and autonomy, being its totality a sort of connective tissue while each facet can be perceived as an independent and

9 Polar Spectrum 2015 Polar Spectrum is made of its own tension between codependency and autonomy, being its totality a sort of connective tissue while each facet can be perceived as an independent and self-sufficient form. The sculpture reconciles the polar opposites of a circle and a square, resulting in a continuum that exceeds a strictly binary experience, where the quest for the two privileged viewpoints triggers an ostensible yet unbroken dynamic flux between voids, surfaces and geometrical antithesis. Polar Spectrum wood, graphite, black flock 2015

10 Exhibition shot at Short Cuts, centre PasquArt Biel, 2015 Exhibition shot at Short Cuts, centre PasquArt Biel, 2015

11 The Sum of All Possibilities 2014 The Sum of all Possibilities (2014) is a suspended sculpture that unfolds itself through an apparent infinite process of metamorphosis which, in reality, is a 12 minute loop defined by mathematical relationships. Its slow and meditative movement is a playful yet subversive commentary on the nature of the sculptural form, highlighting the close and paradoxical relationship between the calculation of probabilities and the unexpectedness of experience, between time and perception, movement and finitude, form and flux.

13 Circular ruin 2015 Circular Ruin #1 Blue smoke bomb on paper 56 x 56 cm 2015

Testing Time 2014 Testing Time (2014) is an installation in which a stream of water is brought to a halt, and time is visibly broken into distinct instances.

14 Testing Time 2014 Testing Time (2014) is an installation in which a stream of water is brought to a halt, and time is visibly broken into distinct instances. Sum of all Possibilities (2014) is a suspended sculpture that unfolds itself through an apparent infinite process of metamorphosis which, in reality, is a 12 minute loop defined by mathematical relationships. Its slow and meditative movement is a playful yet subversive commentary on the nature of the sculptural form, highlighting the close and paradoxical relationship between the calculation of probabilities and the unexpectedness of experience, between time and perception, movement and finitude, form and flux. Cartography of control (2014) is a series of drawings made from the marks left on paper by the attempted manipulation of a powerful electric charge. The outcome is both delicate and unruly, dominated by the tension between control over what is inherently uncontrollable. Calculating the Universe (2014) is a series of works that consider the relationship between rules and the concepts of randomness and chaos. These works are constructed from thousands of dice by following simple repetitive rules from which random and always unique patterns emerge. Testing Time, 2014 water, electronics, LED 250 x 200 x 150 cm Installation view Kohn Gallery, Los Angeles, 2015

Cartography of Control 2014 Cartography of Control (2014) is a series of drawings made from the marks left on paper by the attempted manipulation of a powerful

Calculating the Universe (2014) is a series of works that consider the relationship between rules and the concepts of randomness and chaos.

16 Cartography of Control 2014 Cartography of Control (2014) is a series of drawings made from the marks left on paper by the attempted manipulation of a powerful electric charge. The outcome is both delicate and unruly, dominated by the tension between control over what is inherently uncontrollable. Calculating the Universe (2014) is a series of works that consider the relationship between rules and the concepts of randomness and chaos. These works are constructed from thousands of dice by following simple repetitive rules from which random and always unique patterns emerge. Cartography of Control Electric charge on paper x cm 2015

19 Dark Matter 2014 Dark Matter is a sculpture in which three different viewpoints show three distinct geometrical shapes a square, a hexagon, and a circle which, however, are really only instances of one long continuous line of many different forms that one would see when moving around the sculpture. Dark Matter is a reflection on letting antithetical view points coexist in one object, however impossible this might seem, looking for possible existence of unity beyond the paradox, and what truth might mean beyond its apparent multiplicity. [Troika] are interested in systems and models that we set up to make sense of the world around us, to create order and sense and stability in a complex and often seemingly contradictory world. [ ]The sculpture is very much about stepping back from the system, making room for those things whose truth or falsity is not known to you. It points towards a possible unity beyond these models, which surfaces from our partial experience and understanding of the whole. Q&A: Troika on Dark Matter at Art Basel by Lisa Contag 21/06/14 London-based group Troika s metaphysically strange hanging sculpture Dark Matter (2014), a large black object that looks like a circle, a square or a hexagon depending on where you re standing, probes (like Olde Wolber s video) a very contemporary disturbance about the irreconcilability of subjective point-of-view and objective truth. Art Basel 2014 roundup J.J. Charlesworth reports from Liste and Unlimited

22 Calculating the Universe black and white dice 133 x 267 cm Installation view at Daelim Museum, 2014

Calculating the Universe 2014 Calculating the Universe (2014) is a series of works that consider the relationship between rules and the concepts of randomness and chaos.

23 Calculating the Universe 2014 Calculating the Universe (2014) is a series of works that consider the relationship between rules and the concepts of randomness and chaos. These works are constructed from thousands of dice by following simple repetitive rules from which random and always unique patterns emerge. Calculating the Universe (detail) black and white dice 133 x 267 cm Installation view at Daelim Museum, 2014

24 Calculating the universe #2 & #3 23,940 Black and white dice x x 4.7 cm 2014

25 Time only exists so not everything happens at once 2014 Time only exists so not everything happens at once (2014) is a video installation in which one follows the expansion of a single black mark into an array of colours. The expanding colour spectrum slowly bleeds outwards until it meets the rectangular boundaries of the space that eventually defines its outer edge. Installation view Daelim Museum Time only exists so not everything happens at once Video installation 3.30 min Edition of 7 plus 3 AP 2014

27 Labyrinth 2014 Labyrinth is a soot drawing created through the process of using a wooden structure and paraffin candles to disperse a black layer of soot or debris from the candle flame, which finds it s path of least resistance through the maze. Labyrinth Soot on paper 77 cm (W) x 112 cm (H) x 7 cm (D) 2014

28 Labyrinth Soot on paper 77 cm (W) x 112 cm (H) x 7 cm (D) 2014

Electroprobe Installation #5 2014 Electroprobe Installation #5, is an installation made arranging electronic devices in a circular setting around a set of speakers and a slowly rotating arm to which

29 Electroprobe Installation # Electroprobe Installation #5, is an installation made arranging electronic devices in a circular setting around a set of speakers and a slowly rotating arm to which an electro magnetic pickup device, the Electroprobe, is attached. The Electroprobe slowly hovers over the objects revealing a poly-phonic, mysterious and everchanging parallel soundscape that is created by these everyday inanimate objects. Each object is placed accordingly to the otherwise inaudible tones, pitches and sounds it produces, and, through this spatial arrangement, create a succession of multilayered musical tones that the listener perceives as a single entity. Electroprobe Installation #5 (detail) Custom electronics, acrylic, aluminium 3.5m (DIA) x 2m (H) 2014

30 Electroprobe #5 Custom Electronics, acrylic, aluminium 3.5 m (DIA) x 2 m (H) 2014 Installation view at Daelim Museum of Contemporary Art, Seoul, South Korea

31 Squaring the Circle 2013 Gestalt theory and Edwin Abbott s satirical novel Flatland (1884), where the inhabitants of a two-dimensional world cannot recognise or perceive a three-dimensional object, leave, as Troika suggest, conceptual imprints on the shape of the sculpture. [ ] The experience of seeing and knowing lies at the heart of the work, for both the shape of the square and the circle are contained in one object. Dr. Jean Wainwright in The Far Side of Reason, Squaring the Circle Bent steel tubes, black flocked surface 77.5 cm (D) x 139 cm (H) x 139 cm (W) 2013 Installation view at Kohn Gallery, Los Angeles, 2015

32 Squaring the Circle Bent steel tubes, black flocked surface 77.5 cm (D) x 139 cm (H) x 139 cm (W) 2013 Installation view at Kohn Gallery, Los Angeles, 2015

33 Small Bang 2013 The Small Bangs are made applying water to different kinds of black ink until the black disappears. The artworks are therefore not what they seem: they are both the various colours that make up the absolute black ink and the separated colours of its intrinsic makeup. The title 'Small Bang also suggests the fundamental origins of the universe and the fact that all matter was created from darkness. Small Bang Black ink on paper 68 cm (H) x 58 cm (W) and 41 cm ( H) x 27.3 cm (W) 2013

35 Drawing Together Drawing Apart #04 Black ink on paper 68 cm (H) x 58 cm (W) 2014 Drawing Together Drawing Apart #01 Black ink on paper 68 cm (H) x 58 cm (W) 2014

Arcades 2012 Arcades is a site specific work installed in a former stable in the Buda tower, commissioned by the Kortrijk Biennale curated by Joost Vanhecke and Lowie Vermeersch.

36 Arcades 2012 Arcades is a site specific work installed in a former stable in the Buda tower, commissioned by the Kortrijk Biennale curated by Joost Vanhecke and Lowie Vermeersch. This arcade of light exists in the twilight zone between what is intangible and what is physical, what we perceive as real and what is seemingly impossible, questioning the (alleged) insurmountable discrepancy between intuitive belief and agnostic reason. Arcades Fresnel lenses, lights, steel, aluminium 30 m (L) x 2 m (W) x 3.2 m (H) 2012

The Weather Yesterday 2012 The Weather Yesterday takes our obsession with progress ad absurdum by changing our focus from forecast to the past.

39 The Weather Yesterday 2012 The Weather Yesterday takes our obsession with progress ad absurdum by changing our focus from forecast to the past. The installation is enabled through a post-live link to the weather forecast displaying the weather at any point in time exactly as it was, yesterday. The Weather Yesterday replicates familiar pop culture iconography to display weather information that typically addresses the future. Yet this sign is a reflection of the past and holds information that is intrinsically meaningless. The Weather Yesterday was first presented in Hoxton square in London and has since then been shown in different locations around the world. The Weather Yesterday LEDs, aluminium, custom electronics 2,20 m (H) x 2,20 m (W) x 10 cm (D) 2012

40 The Weather Yesterday LEDs, aluminium, custom electronics 2,20 m (H) x 2,20 m (W) x 10 cm (D) 2012

Cloud (permanent) 2008 The suspended sculpture is covered in thousands of mechanically animated dots that flip between silver and black a technology originally used for information boards indicating

41 Cloud (permanent) 2008 The suspended sculpture is covered in thousands of mechanically animated dots that flip between silver and black a technology originally used for information boards indicating arrival and departure times on travel boards commonly seen at train stations. The work speaks of a gone-by area, of a vernacular technology once barely taken note of in its everyday environment and form of use; the utilitarian function of telling time. By reworking an obsolete material, Cloud is a comment on availability, production and consumption and reframes an object s previous value through subsequent use. The sculpture was commissioned by Artwise Curators in 2008 and is on permanent display at the British Airways Galleries Lounges, Heathrow s Terminal 5, London.

43 Solo Exhibition 2015 Limits of a known Territory NC arte Bogota, CO 2015 Cartography of Control Kohn Gallery Los Angeles. CA 2014 Persistent Illusions Daelim Museum Seoul, Korea 2013 The far Side of Reason Galeriá OMR, Mexico City, MX

44 Limits of a known Territory NC arte, Bogota, Columbia 6 Jun.- 5 Sept 2015 The works in the exhibition, ranging from drawings made with electric charge, to sculpture and installation, share a subtly deceptive nature, unsettling our assumptions of what we perceive as predictable, possible or real. The show is named after the site specific installation Limits of a Known Territory, in which the space of the foundation has been flooded and elusively sectioned by a controlled choreography of water streams. Drawing upon Troika's interest in the connections between randomness and the exercise of control, the site can be conceived as the stage for a futuristic reminiscence of a casual occurrence or the simulation of a parallel reality.

52 Cartography of Control Kohn Gallery, Los Angeles 7 Jan 12 February 2015 Kohn gallery is pleased to present Cartography of Control. This exhibition includes drawings, installation and sculpture and takes its premise from a society that has become increasingly governed by rational thinking and scientific methodology. Cartography of Control questions a purely mathematical description of our world and suggests that just as different maps can give different accounts of the same territory, so can different forms of knowledge reflect a more truthful image about the material world. As Troika experiments with new ideas and processes, the artists continue to work across media including light, water and electricity. While the mark making involved in the works is at once deliberate and spontaneous, calculated and random, Cartography of Control explores ideas around man made structures, control, repetitive actions and systems and how these coincide, conflict, or unite with the unpredictable, the unknowable, and irrational.

61 Persistent Illusions Daelim Museum, Seoul, South Korea 10 April 12 October 2014 Persistent Illusions brings together both existing and new works and examines Troika s investigative ideas that are explored through a variety of media, including sculpture, drawing, and contemporary installation. Taking its premise from a society that has become increasingly governed by rational thinking and scientific methodology, this exhibition centers around Troika s interest in the effects of science and promotes ideas that expand the ways in which we are able to think about our world. The exhibition questions the possibility of a purely rational description of our world and suggests that just as different maps can give different accounts of the same territory, so can different forms of knowledge give more truthful images about the material world. Using a wide variety of materials and processes, such as lenses, light, rope, soot, or dice, Troika create connections between concepts that are often considered polar opposites; science and art, technological advancement and philosophical debate, efficiency and human emotion. As a result, the works in this exhibition invite the viewer to initiate a dialogue that takes place within the unknown and asserts that seemingly conflicting ideas are simply lenses that let us see only one facet of reality. These lenses act as a means to better understand society and its connection to the world. The exhibition is curated by Jung Min Kon and Min Son and is the first solo show for Troika in Korea.

79 The far Side of Reason Galleria OMR, Mexico City, MX 9 April. - 6 June 2013 The far Side of Reason is the first solo exhibition by Troika at OMR gallery in Mexico city. Reflecting on the fundamental tension between perception and reality; fact and purpose; subject and object; culture and nature, the exhibition underlines the paradoxes of human existence and questions a dualistic vision of the world in favour of a possible synthesis. The far Side of Reason brings together both existing and five new works that deliver the investigative nature of this query and Troika s practise, through drawing, painting, installation and sculpture. Starting from the premise that scientific method gave rise to a mechanistic society where logic and reason stand in strict opposition to the subjective part of man, the work offers us an insight into these apparent paradoxes, and Troika the impetus to disentangle the purpose of science, in favour of exploring the intimate arena of the unexplainable.

how does this collaboration work? is it an equal partnership?

how does this collaboration work? is it an equal partnership? dialogue kwodrent x FARMWORK with chee chee [phd], assistant professor, department of architecture, national university of singapore tan, principal, kwodrent sim, director, FARMWORK, associate, FARMWORK