«Liquid Connections» is a project, that has evolved over several exhibitions, culminating with a video installation and display of recent sculptures. It introduces a setting, which oscillates between the strange and the familiar. The core of the video, in all its iterations, is a dense, poetic text collage; a science-fiction siren’s song of salt, sex, deep-time, life cycles and multispecies thinking. The main protagonist is water, the conductive, generative brine that connects us all. Fluids, both amniotic and fluvial, oceanic and cytoplasmic, flowing, oozing, dripping through the story of life on earth. For «we are all bodies of water» dissolving into each other, an amorphous liquid subjectivity that links us to those «primeval amniotic waters gestating us all». These quotes are from Thüring’s prose-poem; a «prose-poem» is itself an aberration of genre, anoverflow, a transgressive form that deploys thought-rhymes. Thus, images overlap and intertwine with one another, in a «womb of words, womb of worlds».

The text takes in fragments from earth science studies and climate change research, alongside founding works of feminist science fiction (such as Octavia Butler, Ursula K. Le Guin) and gender theory (such as Donna Harraway, Astrida Neimanis). All of which is interspersed with infectious refrains from pop songs. These are then delivered with the delirious thrust of a creation myth over a roiling baseline. The video was filmed in a historic filtration plant and features two tentacular figures, like apparitions from the deep. It evokes a hydro-feminist world – an innovative posthuman feminist phenomenology, developed by Astrida Neimanis – which extends into the gallery space with crescent-shaped elements, that suggest wave movements and a scattered reef of glandular ceramic vessels. All of which is bathed in blue light, in tribute to cyanobacteria, the marine life-form intrinsic to biogeochemical cycles. In Donna Harraway’s words «some of the best thinking is done as storytelling», fictions have consequences for how we read ourselves into the world we inhabit, a sentiment delivered here with rapturous vehemence.

Leila Peacock, Zürich, CH