Photo credit: Thomas Gunnar Bagge
No doubt your mother told you that the ceiling caved in presents a fragmentary sculptural landscape embedded within a five-channel soundscape. The work engages with the semi-permanent structure of the Kunsthal44 Pavilion not as a passive container but as a co-agent, with ceramic elements and found building cables suspended from, cradled by, or braced against the pavilion’s frame. This interdependence generates a subtle tension—a choreography of weight, counterbalance, and support—where negotiation prevails over resolution.
The exhibition proposes a relational sculptural language: between invited artists Farah Hazim and Susanna Gonzo, the pavilion’s spatial logic, and the animacy of materials themselves. Entwistle deepens her exploration of authorship and collaboration, aligning with feminist and posthumanist traditions that centre interdependence. Her forms are tactile, responsive, and porous, modelling a process that values vulnerability, reciprocity, and the dissolution of boundaries between form and context.
The title draws from letters between Entwistle’s grandparents, chronicling the cyclical collapse and repair of domestic interiors. Permeability—psychic, structural, and sonic—pervades the work. Ceramic pipe forms, suspended, strapped, or slumped, evoke drainage and biological conduits, registering matter’s soft fatigue. The collaborative soundscape—clarinet fragments, ambient site sounds, and long silences—extends the sculptural logic into time and vibration, dissolving boundaries between sculpture, building, and site. Process and improvisation shape both material and sonic forms, privileging openness, porosity, and relationality over fixed structure.
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