Pour Out of The Abyss – Eben Kling, Aude Jomini, Mitch Palczewski
Pour Out of The Abyss – Eben Kling, Aude Jomini, Mitch Palczewski
June 5 - June 31, 2026
First Friday Opening Reception: Friday, June 5, 6:00-9:00 pm
Practice Gallery is pleased to present Pour Out of The Abyss, a new installation consisting of digital video, interactive artwork, and a print series by artists Eben Kling, Aude Jomini and Mitch Palczewski (FEED Projects collective, New Haven.)
The works in the exhibition range across media, inviting myriad connections and analogies. Through repetition, figure comedy, distortion, projection and stretched transposition, the works allude to a fable in which flimsy copies haunt a city, emerging from murky communal waters. Pour Out of The Abyss exhibits a playful refusal of immersive experience: embracing instead uneven and disjointed spaces. The artists sketch ruptured worlds on the brink of collapse, to be reconstituted by storytelling. The cast and sets are made of the same grotesque stuff; trading roles corpsing the scenario in a dance of elements from different planes. (To "corpse" in a scenario refers to the acting mistake of an actor breaking character and laughing during a scene, named after the stiffness of a dead body. This can ruin the suspension of disbelief for the audience and disrupt the flow of the production.)
The projected cinematic video short, Haunted Regatta Storica Boat (Physics Bug), animates a hybrid world composed from the artists’ 3D scans, gathered in a longstanding residence in Venice, reconstructed 3D sculptures of Venetian artifacts and Google maps scraped through photogrammetry. It is a fictional race backwards, through glitch canal memories, culminating in a dance of confusion and shifty mapping.
Pilepilepile is a projected, participatory web 3D open-world, where visitors are invited to wander and edit a digital community garden, building spaces and reconstituting unique stories from the artists’ growing bootleg collection, an archive of accumulated iconography and assets. The journey is unconstrained by scale and weight, yet its objects become familiar through available actions. A personal map evolves out of floating translations.
The digital print series recasts the same collection of objects, collapsed into the forced perspective of architecture as still images. They invoke the involution and compression felt when walking the innards of Venice, where memory and movement become tightly woven.
These works in dialogue, along with the artists’ older interactive games set up in the back of the gallery as a set of participatory terminals, connect to the range and play of communal space. Never utopian, but instead messy, distorted, drawn from memory, where various shared experiences can create as many connections as ruptures.
To add to the public dimension of refusal, the artists’ central site-specific sculpture, Lodge Your Complaint, a massive leering papier-mache head, recreates Pre-Renaissance Venice’s anonymous denunciation box, or Bocca del Leone (Lion’s Mouth). Such amenities were built into government buildings as the open mouths of sculptural reliefs, inviting us to meditate on the plurality of truth and its modes of distortion. Like its Venetian, the big head in the gallery asks visitors to “lodge your complaint” by filing a written form into its giant mouth. The leering head becomes a collective repository for the viewers’ own misgivings. Once the exhibition is over, the collected complaints will be added to the artists’ library of assets as 3D artifacts, weaving in another feedback loop.
