Work — Troika

Programming harmony touching clear sky

2024

Work

16 shades of red and green

Buttercup (Canticle of the Creatures)

2024

Work

Carrara marble

Pink Noise

2024

Solo Exhibition

Langen Foundation

Terminal Beach

2024

Solo Exhibition

MAK, Vienna

Anima Atman

2024

Work

Silicon, thistles, LED lights and custom electro-mechanical system

Anima Atman

2024

Solo Exhibition

max goelitz Berlin

Grenzgänger

2024

Work

Fused Deposition model, lacquer

Obsolete Landscapes

2024

Work

Dye sublimation print, aluminium

Poetics of Encryption

2024

Group Exhibition

KW Berlin

‘Poetics of Encryption’, 2024| Troika (Eva Rucki, Sebastien Noel, Conny Freyer)

In a forest of red, green and blue

2023

Duo Exhibition

Max Goelitz, Munich

Squaring the Circle

2023

Commission

Wiesbaden, Germany

In a forest of red, green and blue

2023

Work

Fused deposition model and lacquer

Pile of salt

2023

Work

Pile of 12.5 kg of salt

Maladaptation to the Screen

2023

Text

Dehlia Hannah, for ‘In a forest of red, green and blue’, Cécile B. Evans & Troika, Max Goelitz Gallery, Munich, 11 May–17 June 2023

‘Maladaptation to the Screen’
Dehlia Hannah

The 1818 novel Frankenstein, Or: the Modern Prometheus was adapted for the stage almost immediately after its publication. Audiences were fascinated by the tale itself and horrified by the thought that it was authored by a woman only eighteen years of age. The young Mary Godwin began writing modernity’s paradigmatic tale of scientific hubris and the perils of emerging technology amid a love affair with a married man[…]

I woke to find myself scattered across continents

2023

Work

Fused deposition model and lacquer

Third Nature

2023

Commission

Cambridge, UK

Forest filled with pines and electronics

2022

Work

Paintings in 16 shades of red, green and blue

Caught Knapping

2022

Text

Mark Rappolt, ‘Caught Knapping’, in ‘Untertage’

‘Caught Knapping’
Mark Rappolt

A pile of salt.1 Or perhaps two piles of salt. Neither is quite correct. Perhaps it’s easier, for the moment, to leave the material details to one side; to focus on the concept. After all, we’re always being told that that’s what contemporary art is really all about. In any case, everyone knows that today we live in a dematerialised world. How else could we have survived the great[…]

Salting the Earth

2022

Text

Eva Wilson, ‘Salting the Earth’, in ‘Untertage’

‘Salting the Earth‘
Eva Wilson

Accommodating multiple shades of the colours red, green, and blue as seen by a computer; a salt fountain; chemical gardens; flint chips and silicon wafers; and the last tree on earth,Troika’s project Untertage, developed over several years, takes shape as an elaborate ecosystemic fiction. The focus of the project’s narrative shifts away from a human protagonist and towards a non-human actor who, here, is devised as the real hero of an aeonian drama of world domination. Flipping the traditional figure-ground[…]

Life Matters

2022

Text

Ariane Koek, ‘Life Matters’, in ‘Untertage’

‘Life Matters’
Ariane Koek

‘What happens when human exceptionalism and bounded individualism, those old saws of Western philosophy and political economics, become unthinkable in the best sciences, whether natural or social? Seriously unthinkable: not available to think with.’ – Donna Haraway, “Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene”, e- flux Journal, Issue 75 (September[…]

Salt of the World

2022

Text

Paul Carey-Kent, ‘Salt of the world’, Seisma Magazine, 8 April 2022

‘Salt of the world’
Paul Carey-Kent

The various projects of the London-based Franco-German trio Troika – formed in 2003 by Eva Rucki, Conny Freyer and Sebastien Noel – often focus on how the ‘real’ is giving way to the ‘digital’, and the consequences. Recently, though, they have set new work into a wider, additional, narrative that forms part of their ongoing project ‘Untertage’[…]

No Sound of Water

2021

Solo Exhibition

Fundación Arte Abierto, Mexico City