Keyring Shuffle

Sebastian Koeck, David Takeshi Yoshida
26.04. — 17.05.2022


Wes Knowler
Keyring Shuffle
2022

U’s hurt is not the ache and swell of movement’s delicious aftermath, but the rigid drudgery of standing still––behind a counter, a desk.

Both U and the counter are there to function as a threshold: a discerning gauze through which only certain people can pass through, across which only certain things can be exchanged. U watches people milling about, their things passing through, listless. U’s indifference means that what comes in and what goes out has become pretty arbitrary. U isn’t very good at their job. Something like money changes hands. The ceiling begins to sink.

Neither the milling of the people nor the exchanging of their things moves U. Their blank bustle simply washes away, eclipsed by the aching and the swelling. There are screens, they choke and flicker. Far away, barely audible, the sea broils––muddy and pearlescent.

U’s feet hurt.

On their way home U finds some intricate, pleasurable thing on the side of the road. It seems to have been thrown out with the rubbish, which steams quietly in the chill dusk. The context of this intricate, pleasurable thing’s production is unknown to U: it could be a trinket, (easily misplaced) or even something which may once have been precious, but is now bereft of the owner or ritual which formerly imbued it with meaning. Perhaps it has been discarded intentionally. Who can say who made it? It seems unauthored and unattributable to anyone in particular. It might be made of wood. It sounds hollow. It has a folksy quality. Yet U recognises that the pleasurable thing testifies to the conditions of its making by virtue of its own material (obviously reappropriated) and its skilful craftsmanship (clearly a labour of intimate attention) even if the identity of both material and craftsman ultimately remain anonymous.

If there is a way to open the pleasurable thing, U finds none, but is immediately animated by the prospect that there may be something contained within. U taps it––gently at first, then harder––on the curb. Its surface remains unmarked. They jam their penknife into a seam, trying to pry it apart like a clam, but the blade only gets a few millimetres in––no further––and cannot gain enough leverage. Beads of acrid sweat blossom on U’s forehead and catch the waning light, like suns. Something strains.

This animation is so powerful that U temporarily forgets their ache, the counter, exchange.


Keyring Shuffle, exhibition view, 2022
1 — Keyring Shuffle, exhibition view, 2022
Keyring Shuffle, exhibition view, 2022
2 — Keyring Shuffle, exhibition view, 2022
Keyring Shuffle, exhibition view, 2022
3 — Keyring Shuffle, exhibition view, 2022
Sebastian Koeck, bulletin board 2, 2021/2022
4 — Sebastian Koeck, bulletin board 2, 2021/2022
Sebastian Koeck, bulletin board 2, 2021/2022
5 — Sebastian Koeck, bulletin board 2, 2021/2022
Sebastian Koeck, bulletin board 2, 2021/2022
6 — Sebastian Koeck, bulletin board 2, 2021/2022
Sebastian Koeck, Hoard, 2022. Michaels marbles (440 pieces)
7 — Sebastian Koeck, Hoard, 2022. Michaels marbles (440 pieces)
Sebastian Koeck, Hoard, 2022. Michaels marbles (440 pieces)
8 — Sebastian Koeck, Hoard, 2022. Michaels marbles (440 pieces)
Keyring Shuffle, exhibition view, 2022
9 — Keyring Shuffle, exhibition view, 2022
Keyring Shuffle, exhibition view, 2022
10 — Keyring Shuffle, exhibition view, 2022
David Takeshi Yoshida, exhibition view, 2022
11 — David Takeshi Yoshida, exhibition view, 2022
David Takeshi Yoshida, Himavariation 3, 2022
12 — David Takeshi Yoshida, Himavariation 3, 2022
David Takeshi Yoshida, Cream Rises, 2022
13 — David Takeshi Yoshida, Cream Rises, 2022
Keyring Shuffle, exhibition view, 2022
14 — Keyring Shuffle, exhibition view, 2022
Sebastian Koeck, untitled, 2022
15 — Sebastian Koeck, untitled, 2022
Sebastian Koeck, untitled, 2022
16 — Sebastian Koeck, untitled, 2022
Keyring Shuffle, exhibition view, 2022
17 — Keyring Shuffle, exhibition view, 2022
Keyring Shuffle, exhibition, view, 2022
18 — Keyring Shuffle, exhibition, view, 2022
David Takeshi Yoshida, untitled, 2022
19 — David Takeshi Yoshida, untitled, 2022
20
Keyring Shuffle, exhibition view, 2022
21 — Keyring Shuffle, exhibition view, 2022
Sebastian Koeck, from, 2022
22 — Sebastian Koeck, from, 2022
Keyring Shuffle, exhibition view, 2022
23 — Keyring Shuffle, exhibition view, 2022
Sebastian Koeck, bulletin board 5 (Ever Given), 2022
24 — Sebastian Koeck, bulletin board 5 (Ever Given), 2022
Sebastian Koeck, bulletin board 5, (Ever Given), 2022
25 — Sebastian Koeck, bulletin board 5, (Ever Given), 2022
Keyring Shuffle, exhibition view, 2022
26 — Keyring Shuffle, exhibition view, 2022
Keyring Shuffle, exhibition view, 2022
27 — Keyring Shuffle, exhibition view, 2022
Sebastian Koeck, Improvised Shelter, 2022
28 — Sebastian Koeck, Improvised Shelter, 2022
Sebastian Koeck, bulletin board 1, 2021/2022
29 — Sebastian Koeck, bulletin board 1, 2021/2022
Sebastian Koeck, bulletin board 1, 2021/2022
30 — Sebastian Koeck, bulletin board 1, 2021/2022
Sebastian Koeck, Improvised Shelter, 2022
31 — Sebastian Koeck, Improvised Shelter, 2022

Info

curated by Alexandra-Maria Toth
Images by Flavio Palasciano

Location

house of spouse
Reinprechtsdorfer Straße 48