Going Tinder Fungal presents works from artistic research on the tinder fungus (lat. Fomes fomentarius), which concedes the non-human world of fungi its own perspective. Art and nature no longer form a hierarchical dichotomy, but intra-act and entangle here in terms of form and content, and animate each other.

The focus is on the tree sponge itself, not on its 5000-year use by humans or its function: decomposition of wood. Going Tinder Fungal focuses on the bodies of the tinder fungus, their vegetative diversity and association with micro-organisms and (dead) wood. This reveals the fungus’ own (micro)cosmology.

In her artistic research, Christina Maria Pfeifer regards the fungus to be an independently acting living being that can enter into a relationship with others. For example, it emits spores and scents through the air. This human-non-human offer of relationship is her central interest. She consciously responds to it and develops relational practices with the fungal living beings of the more than human world.

Wunderkammer Naturalia / Artificialia is the name and concept for an exhibition series in Bad Cannstatt. Housed in the four shop windows of the former “Betten Fischer” (bedding house), the Wunderkammer in Badstraße exists separately from pre-established cultural hubs, aiming to bring contemporary art into the public space.

The name Wunderkammer Naturalia / Artificialia refers to the Cabinets of Curiosities or Wonder Collections which emerged in 14th century Europe. These collections gathered wonders from around the world, uniting objects belonging to the fields of both art and craft, including found items and manmade artefacts. These rarities were exhibited to amaze the spectator, whilst simultaneously demonstrating individual power and wealth.

As a precursor of contemporary museum presentation, the roots of modern exhibiting can be found in these collections. Wunderkammer Naturalia / Artificialia is an attempt to critically question the ethnographical histories surrounding practices of collection which pertain to a complex colonial legacy of theft and oppression.

Simultaneously, Wunderkammer Naturalia / Artificialia is interested in challenging the current standards and hierarchies of curation, which determine what is considered ‘worthy of exhibition’. From the indiscriminate assemblage of the cabinet of curiosities, to the divisions between art, craft and natural history currently at play in contemporary museums.

Two of the windows show the works of young contemporary artists* in staggered rhythms. Focusing on practices which explore tensions between naturalia and artificialia, they deal with this tension both as individual works and as part of a dialogue with the other represented artists.

The third window is explicitly dedicated to the Naturalia and grows piece by piece with found natural objects, selected by the artists. Finally, the fourth window is a Wunderkammer itself: arranged by the owner of the former bedding house, it operates independently and obeys its own logic.

Kuration: Jan Nicola Angermann