(Berlin, Germany)+(Silicon Valley, California)


The heat installation is a tragicomic scene created for a video and three performances.

Heat (performance with sculpture), Vitrine at U-Bahnhof Kleistpark, Berlin, Germany, curated by A Trans, found bags, ivy, beeswax, thread, sound, metal chain, 24 in W x 54 in H x 15 in D (dimensions with chain are variable depending on ceiling height), 2019.

heat, video and sound, 2019.

Friedman used beeswax to coat ivy she then sewed onto a series of found bags. Gestures, found bags ranging from gym bags to soft lunch coolers and deteriorating ivy are a backdrop for two intertwined but separate networks—the foliage and the nested bags. In both the video and the performance, the ivy climbs over the fabric to emerge and cover the nest’s exterior. The beeswax increases the ivy’s perenniality and nods to the minimal hierarchical characteristic of a dying socialist species (bees).

Heat performance footage compilation: at the exhibition opening for Miranda J Friedman and Bruce Magrane at How the Light Gets In in Silicon Valley, California in May 2019; and at a performance at the A Trans Vitrine at U-Bahnhof Kleistpark, Berlin, Germany in June 2019.

The ivy is a route for the small bags to partake in a network that ultimately exists the nest. The bags are eventually uncovered in an alternative exit from the nest. It is only via the alternative exit that the bags within are relieved of the friction of the larger bags rubbing up against them.

Heat (performance with sculpture), Studio Baustelle, Berlin, Germany, ivy, beeswax, thread, sound, metal chain, 24 in W x 54 in H x 15 in D (dimensions with chain are variable depending on ceiling height), 2019.

In three live performances, the artist unpacked the 18 bags nested within one another, creating a recurring cycle.

A harmonic sound score cued the artist’s dropping of each bag layer onto the ground, simultaneously revealing an increasing prevalence of ivy sewn about the bags. The sound source lived inside the innermost bag (also the smallest and most ivy-covered), causing the sound to become clearer and louder with each peel.

Each performance resulted in deterioration to the sculpture. Friedman invited guests to add stitches to the installation as she sewed some of the detached ivy back onto the bags after her performance at Studio Baustelle in Berlin.

Originally intended to cue movement in live performances of heat, the harmonic sound score that Friedman created became a shaping tool for the choreography’s cadence in both the performance and the video.