In the darkest time of the year, one may discover the most unique and noteworthy. Since November 9th, 2009, Berlin has been home to the most unusual tropical garden 18 square meters have to offer. This small climatic wonder, titled “Ultra-Nursing”, is practically hidden in a common Berlin-style courtyard at Torstrasse 96 and shows what can be achieved when art and commerce effectively synergize, rather than elbowing one another in search of the advantage. The concept of Resident Artist, Swen Kählert, materialized in cooperation with the renowned Italian bag manufacturer, sissirossi, and radicalfuture.

Temporary Store sissirossi • Lucas Carrieri Art Gallery • Berlin

Embedded in the art installations, “Ultra-Nursing“ and “Studio 96”, sissirossi presents their newest collection of handcrafted bags until January, 2010, in their first temporary store worldwide. A unique knowledge about workmanship and coloring techniques, as well as extreme courage to take the time necessary, ensures that each single piece is extraordinary. Studio 96 is the name of the Atelier, in which Swen Kählert will continue his work on an elaborate sculpture. This ideal situation created to dedicate one’s self completely to a theme, has also forged a conceptual bridge to sissirossi. With this project, the company has started an endeavor to sponsor artistic concepts, which build a worthwhile connection between art and commerce. Also, in the future, sissirossi seeks to support engaged artists and is developing relationships within the regional cultural scene.

Ultra-Nursing • Installation • 2009

The praying mantis, logo for the brand, sissirossi, is also symbolic of the ultimate mother. Our picture of this peculiar creature is dominated by the theme, “procreation”. 30 to 35 percent of all male counterparts die in a way unimaginable to us during the act of copulation. The female bites off his head during the act and commences to devour it. The sexual act is then continued, until completion, even without the head. Transcribed to our human moral standards, this rite is hideous and premeditated. Seen, zoologically, however, it is the ultimate form of devotion: self sacrifice for the survival of the species. Only a few newborns will survive, and to these, the female mantis, dedicates all her care.

The installation Ultra-Nursing, in the cozy middle room of the gallery, takes on this theme, interpreting the tropical natural habitat of the mantis. 250 exotic plants require the care and creativity of artist, Swen Kählert in order not only to survive the dark season, but also to grow and flourish—a difficult task in a room with little sunlight and dry hot air, which cannot sustain itself without outside help. The holy St. Philomene is sought for all sorts of things. Among other things, she is guardian saint for pointless endeavors or for prostitutes, to name a few. The vertical garden recalls, in many of its components, the erotic element of the theme. Flamingo lilies, “ Sexy Pink” heliconias, and various flesh-eating plants, such as Venus fly traps, and Nepenthes ‘Miranda’ have not only a sensual form, but also the ideal colors. The room invites one to linger a while. The fragrance, the cool, humid climate and the concentrated oxygen make for pleasant stay. Everyday objects, which are not normally felt to be appealing, such as wooden euro pallets, and violet plant light, have a different effect in this combination. It illustrates how things trivial to us, in another context, can be beautiful and exactly right.

Studio 96 • Installation • 2009

The larger back room of Lucas Carrieri Gallery serves as “Studio”/Atelier for Swen Kählert, the sissirossi “Artist in Residence” until the end of January 2010. The room is conceived as a seemingly industrial creative space for working by process. Similar to the extensive and detailed Manufacture of sissirossi handbags, Swen Kählert has dedicated himself to the creation of an art object, which is growing piece by piece and is to be finished by the end of January. Lengthy, detailed concept art is typical for the work of Kählert. Patient and constant reflection are indispensable to the idea of a long-term installation. The space is in constant transformation, which, even if in the smaller details, is noticeable to the watchful observer. The sissirossi handbags also hang in the atelier, as in an ongoing process, temporarily stored and order themselves almost naturally into the space. Collective objects from the installation give reference to the theme Praying Mantis and the creative process involving the factor time. At the conclusion of the residence, the art object, as well as the room installation, will be auctioned. The proceeds will go toward a cultural grant for young artists.

Furie • Object • 2009

As part of his three-month residency in Studio 96, Swen Kählert has been developing his newest art piece, “The Fury”, a thriving spatial structure. The material used in this art object serves as a connective link between artistic thought and the conceptual joining of art and commerce.

The main elements implemented by the artist are long thin wooden sticks. With ample care, patience, and concrete artistic vision, this very complex and multilayered art piece has been able to grow, maintaining a clear association to the mantis. Her uncompromising determination to reproduce and her will, if necessary, to take lives in the process, embodies the ultimate matriarch and a cult of the dead typical of this species. Her intricate aesthetic with small head, giant eyes, and tiny mouth, her ability to transform from her majestic posture into a swiftly flying object with large beautiful wings, and her gruesome natural instinct to procreate no matter the price, allow for no general categorization. The mantis remains mysterious and bizarre to us, yet fascinating and aesthetical. Kählert’s goal is to capture this artistically.

The Erinyes— also known to the Greek as Maniai, “the maddening”, later as Euminides, and called “Furies” by the Romans, are, in Greek mythology, a group of vengeance goddesses for mothers. Alecto (”unceasing,” who appeared in Virgil’s Aeneid), Megaera (”grudging”), and Tisiphone (”avenging murder”). The latter is often portrayed on Greek amphorae as having a dog’s head and bat’s wings. The epithet, Euminides, (the gracious ones), was given to them by Athena in Aeschylus’ The Euminides as a result of losing their post and power in their trial against Orestes. Here one may find remnants of the original meaning: In the old matriarchal context, they were associated with mortuary practices, as well as with themes of fertility.