"Phantom Gut"
Ingeborg Tysse
26 April - 31 May, 2024

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

“Phantom Gut”, solo exhibition by Ingeborg Tysse. Installation view at L21 Home, 2024.

Ingeborg Tysse

Spikey, 2024

Sycamore maple tree, aspen, spruce, epoxy resin, bird spikes

144 x 37 x 22 cm

Ingeborg Tysse

Pod, 2023

Spruce, cables

27 x 50 x 30 cm

Ingeborg Tysse

Another kind of gut, 2024

Birch tree, socket, iPod, charger, looped video, contact folio, leather shoes, epoxy resin

144 x 37 x 22 cm

Ingeborg Tysse

Plug, 2023

Power plug, wood

7 x 20 x 35 cm

Ingeborg Tysse

Tales of Transit, 2023

Sell, Hazel, pigmented epoxy resin, iPhone, loooped video, charger

144 x 37 x 22 cm

Ingeborg Tysse

Apparatus for bonding, 2024

Bird spikes

13 x 28 x 27 cm

Ingeborg Tysse

Tails to Tales, 2024

Birch tree, aspen, handwoven digital Jacquard weaving, copper, metal pipe, patent tape, contact folio

166 x 37 x 34 cm

Ingeborg Tysse

Pocket , 2024

Copper, handwoven digital Jacquard weaving, nails

100 x 40 x 30 cm

Ingeborg Tysse

Phantom gut, 2024

Handwoven digital Jacquard weaving, wool, linen

200 x 100 cm

Ingeborg Tysse

Hot gut, 2024

Handwoven digital Jacquard weaving, wool, linen

160 x 100 cm

Ingeborg Tysse

Golden claws, 2024

Handwoven digital Jacquard weaving, wool, linen

200 x 100 cm

Ingeborg Tysse

Morgan cane, 2024

Copper, wooden stick

90 x 95 x 27 cm

Ingeborg Tysse

Arm or, 2024

Copper, handwoven digital Jacquard weaving, copper thread

28 x 110 x 28 cm

Ingeborg Tysse

Hoopthesis, 2024

Cherry tree, handwoven digital Jacquard weaving, copper thread

140 x 47 x 33 cm

Ingeborg Tysse

Skiapod’s vacation, 2024

Cherry tree, handwoven digital Jacquard weaving, copper thread, metal pipe, epoxy resin

144 x 37 x 22 cm

“Phantom Gut” marks Ingeborg Tysse’s debut exhibition in Spain, coinciding with her inaugural representation by L21. The assembly of the works resembles a forest of bodies and limbs, a landscape merging fiction with reality. It inhabits a realm that straddles the virtual, the real, and the mystical, rooted in something visceral and raw. This landscape in transition gathers limbs that may never have existed, encapsulating history, contemporary and ancient myths, folklore, embodied technology, and future possibilities.

 

The allusion to the ghost is compelling, suggesting that while a ghost once physically existed, a phantom may never have had physical form.) While ghosts often appear as a shadow of something manifested in the ‘real’, the phantom suggests an imagined phenomenon rather than something factual – opening up a realm of endless opportunity – as the imagined often happens to be where magic can gently coexist, merge and create narratives.

 

Within this realm we are urged to step into a kind of underworld, where Tysse states ‘there is no right or wrong, good or bad, nor up or down- instead we are in constant transition of remolding, melting, and morphing with our surroundings-  with the head in the future, the heart in the past, and the gut in the present,” we are invited to navigate the temporal complexities of our existence.

 

This mutation of complex hybrid bodies exists between animal, human, machine, and realms beyond our known existence. Her sculptures offer new possibilities rather than definitive answers, with the gut, our intuitive connection to digestion, truth- synthetic or organic, creating and blurring outlines. Her bodies indicate some sort of functionality within their own logic, suggesting an unreleased performativity, leaving the room in an uncanny state. 

 

By placing the work in a space that was once a home, we step into a new dimension, confronting, succumbing and eating up our traumas, our childhood furniture now a part of our limbs, table legs grow through our nervous system, the floors where we stumbled, the bruises we are and the windows we peered through. The body now merges with the house. Is this what they meant when they said, ‘death becomes her’? In this room we are both fiction and reality.

 

Zé Ortigão

EN / ES