Pakui Hardware

Pakui Hardware (Neringa Cerniauskaite and Ugnius Gelguda) are based in Berlin and Vilnius. They work as a collaborative artist duo since 2014. Their latest solo shows took place at Tenderpixel, London; Trafó Gallery, Budapest; SIC, Helsinki; Artissima, Turin; EXILE, Berlin; MUMOK, Vienna; Podium, Oslo; Kim?, Contemporary Art Centre, Riga; Contemporary Art Centre (CAC), Vilnius and 321 Gallery, Brooklyn, New York.

Location: Vilnius
Pakui Hardware The Return of Sweetness (detail) 2018 Glass object, heat-treated PVC, textile fabric, latex, silicone, chia seeds, cables Dimensions variable Courtesy the artists, EXILE, Berlin and Tenderpixel, London
Photo by Pakui Hardware

Undo opacity. What do we have here? It’s not the heart but the belly of the matter. Belly up. Belly out. Turn the problem inside out and expose its guts. To see the thing exposed – the belly of the beast… Crystalline gall. Artist duo Pakui Hardware help us edge towards a new choreography of care.

 

Pakui Hardware (Neringa Černiauskaitė and Ugnius Gelguda) are concerned with the vulnerability of the horizon. Their work collapses the difference between human and non-human actors through installations of ‘hybrid ecologies’ that confuse any immediate impulse as to where loyalty or affinity might lie. Their compositions, amorphous, organic-industrial forms, examine the role that technology, economy and materiality have in shaping each other.

 

Inspired by ‘case-studies of tensions’ including High Frequency Trading, automated futures and the idea of ‘Second Nature’ (biological futures, synthetic biology), Pakui Hardware take culture – and by extension cultures – off the assembly line to check in – how is everybody feeling? The duo’s palliative approach softens the industrial hardware and along with it our own response to their bill of health. Under the roof, things are looking a bit fragile. New alliances formed through a familiar vulnerability. Must care better.

 

For the Baltic Triennial 13, Pakui Hardware present a new configuration that hones in on what writer McKenzie Wark termed the ‘metabolic rift’. This is the crisis point of irreversible ecological imbalance, the era of the Anthropocene.. Working through the metaphor of metabolism, the duo speak from the heart – or rather the belly, itself a grossly augmented system, engineered for maximum output, but fatally out of sync. Take it all in. Consumption, extraction. Consumption, extraction. Metabolic process amped to the max. Cables sluice the insides, fresh extractions on support. A sacrificial victim of the gastric economy. The organism lays exposed. Glass, copper pipes, heat-treated PVC film, latex, saliva and chia seeds. Silicon guts. Interconnected parts lace through the space in an installation hung from the rafters, sleek droop system. Eyes slip down rubber tubes and curl around glacier-rounds. Molecular red forms crystallise in thermodynamic events and look like big boiled sweets. Some parts are cinched round the middle like a gastric band… looks a little loose though. Someone should check on that. Stitches coming loose too on the part below, and that bit hanging like the Sword of Damocles above it all. So you breathe in a little as you pass by the formation, suck yourself in and shrink a little. Careful, or shards will be everywhere. Watch your step. Working out how to stay intact together by augmenting your flow. Something a little more symbiotic this time. It’s all in the balance.

 

Tamar Clarke-Brown