In collaboration with the Artocène Biennial (Saint-Gervais Mont-Blanc, FR)
Curated by Elise Lammer, featuring a sound installation made with Janiv Oron and poems by CAConrad.
With the support of Fondation Leenaards.

• Opening : Thursday 29 October, 6 pm
• Poetry reading : Thursday 29 October, 7:30 pm, with CAConrad (US) and the students from their workshop at Work.Master (HEAD – Genève)
• Guided visit and performance night : Wednesday 2 December, 7:30 pm

On the occasion of his first institutional solo exhibition in Geneva, Hunter Longe draws on the presence of the Rhône, which flows through Halle Nord, to further his ongoing research into temporalities that extend far beyond human history. For several years, Longe has confronted his own experience of time with durations that surpass it: those of minerals and, more broadly, geological processes. By bringing into friction scales that are usually considered irreconcilable—several decades alongside hundreds of millions of years—he constructs syncretic constellations in which micro- and macro-temporalities converge, not to relativise human experience, but to shift its coordinates. The exhibition brings together different tools for apprehending reality whose regimes of validation differ, yet to which the artist grants equal operative value.

At Halle Nord, a group of sculptures that have been shaped, found, or gradually altered through processes of erosion involving both human and material agents forms an environment in which nothing appears permanently fixed. Through a series of interventions extending both inside and beyond the exhibition space, the artist seeks to produce a form of "temporal slippage": an experience in which the perception of time becomes unsettled and materials appear to continue along their own temporal trajectories before the viewers' eyes. The exhibition also reflects the artist's ongoing commitment to collaborative and polyphonic forms of making. It features a sound composition made in collaboration with Janiv Oron, whose practice explores the material dimensions of sound, alongside poems by the American poet, professor, and author CAConrad, whose ritual-inflected writing expands the exhibition's inquiry into alternative, almost magical modes of perceiving. Interested in the notion of the offering, the artist considers the act of collecting, moving, or placing an object as a way of intervening, on a human scale, within temporalities that far exceed it. Here, found objects are received as offerings from deep time, while the artist's gestures become reciprocal offerings, repositioning them into the world with renewed potential.