hunt kastner

hunt kastner & Arratia Beer

hunt kastner is proud to present works by three artists represented by the Berlin-based gallery Arratia Beer for the inaugural exhibition of the collaborative multi-city project Berlinsky Model 2018 – Holly Hendry, Pablo Rasgado, and Anna Virnich. The connecting thread that permeates throughout these artists’ works and roots itself in the exhibition space is a shared sensitivity in approaching temporality and how time shapes our material world. Time is heavy – it piles up, cakes layers on top of itself, and leaves scars and whispers of the past in its wake. The works of Holly Hendry, Pablo Rasgado and Anna Virnich explore the passing of time by unearthing it, reassembling and re-contextualizing it, and sometimes allowing for spontaneous moments and gestures to set themselves into permanence.


“We are all in pieces” is a line from the text accompanying Holly Hendry’s solo exhibition For a Skeleton to Hang Soft Tissues On held at Arratia Beer in 2017, and precisely refers to the recognizably human bits and fragments lodged in her sculptures. One can notice small keys and screws piercing through different layers of material, as well as bones snaking through the piping. Hendry’s objects, with their saccharine-hued layers like cut outs of soil horizons burping up the occasional fossil, suggest that they were once part of a much larger whole than any gallery space could possibly contain. These slabs of excavated ground reveal an accumulation over time, while simultaneously alluding to the structure of the space itself and the mechanics of which the visitor cannot see – the complex architecture hidden behind the polished white walls.


While one can recognize the enduring nature of Hendry’s work, Pablo Rasgado’s dry-wall paintings point out exactly the ephemerality of temporary structures and exhibition architecture. As opposed to a blank canvas, Rasgado starts with already existing material. His abstract paintings come from various sources – many of which include walls constructed for his previous exhibitions. When reconfigured, the drywall pieces resemble abstract paintings that fold and unfold into themselves. By bringing the recycled walls into the gallery space, Rasgado re-contextualizes them, and not only blurs the distinction between art and its supporting architecture, but extends the life-cycle of the physical material.


Materials that collect and bare traces of encounters and manipulation over time are a constant in the work of Anna Virnich. Her Untitled #40 and Leather #4 pieces may at first seem like painted compositions; however, upon a closer look one can notice their intricacies. Virnich’s patchwork on wood consists of delicately sewn together swatches of airy silk and polyester fabrics. The artist often chooses to work with pieces of clothing that carry lingering scents from those who have worn them before – thus, a kind of intimacy and memory are stitched into the final form. Virnich’s leather works stretched across their frames also show traces of the artist’s handling, with trickles of beeswax dripped onto the surface, immediately drying where they landed. In this regard, Virnich captures and solidifies a moment in time, much like in her hanging works that exhibit the indentations of a hand gripping the malleable material – a fleeting touch made visible.


— Christina Gigliotti


Holly Hendry (b. 1990) lives and works in London. She graduated from the Royal College of Art in 2016. Throughout her layered sculptures configured like pieces of a puzzle, she explores the internal and external workings of space, as well as the human body. Her most recent solo exhibitions include For a Skeleton to Hang Soft Tissues On at Arratia Beer, Berlin (2017), Wrot at BALTIC Centre for Contemporary Art, Gateshead, London (2017), and The Box at Pippy Houldsworth Gallery, London (2017). Her work has been included in group exhibitions such as Ho Ho Ho at Frutta Gallery, Rome (2017), In Favor of Three Dimensions at MLF | Marie Laure Fleisch, Brussels (2017), and Lightness at White Rainbow, London (2017), and the upcoming Liverpool Biennale (2018).


Pablo Rasgado (b. 1984) lives and works in Mexico City. His works often originate from the very walls and facades and history of the city, as he takes material and repurposes it for his own practice. His most recent solo exhibitions include This Too Shall Pass at Steve Turner, Los Angeles (2017), Pablo Rasgado at Steve Turner Contemporary, Paris (2016), and FIAC OFFICIELE at Steve Turner Contemporary, Los Angeles (2015). His work has been included in group exhibitions such as ArteBA (with Steve Turner), Buenos Aires (2017), XIII Bienal de Cuenca, Bienal Internacional de Cuenca, Cuenca, Edcuador (2016), and Come As You Are at Arratia Beer, Berlin (2016).


Anna Virnich (b. 1984) lives and works in Berlin. Her work includes large-format wall pieces composed of a patchwork of fabrics to create ethereal textiles, and objects that often bare the impressions of the artist’s touch. Recent solo exhibitions include Wärme at Arratia Beer, Berlin (2017), Art-O-Rama (with DREI), Marseille (2017), and Nervous Moments Membranes at Proyectos Monclova, Mexico City (2016). Her work has been included in group exhibitions such as Okey Dokey at DREI, Cologne (2017), La Vie at Mode d’Emploi’, Centre d’art Contemporaine Chanot, Clamart (2017), and You are what you are at Galleria Mario Ianelli, Rome (2016).



We would like to thank the City of Prague and the Czech Ministry of Culture for their support of our exhibition program. And special thanks to our 2018 Berlínský Model project partners: the Goethe Institute in Prague, Czech Centers, J&T Banka, and media partners: Art+Antiques, Artmap.