Sarah Ancelle Schönfeld: Ironing Materialism

Belo Campo is happy to announce its reopening !

Opening: 19.06.2021 | 2pm – 7pm
Exhibition 19.06 – 30.09 – 2021

Based on the assumption that our western liberal understanding of the world is not sufficient to cope with the ever increasing global accumulation of problems, Sarah Ancelle Schönfeld jestingly designs mysterious laboratories and treatments where solutions, healing and meaning are pursued and generated anew by radical interdisciplinary methods. Her labs materialize through installations, performances, sculptures, and instruments and she includes approaches from various fields in her practice, such as science, religion, mythology, magic, witchcraft and technology.

For Belo Campo, Sarah Ancelle Schönfeld continues her investigation on context-specific potential for witchcraft. She conceived Ironing Materialism as a therapeutic plumbing device which connects the river flowing underneath the space, to melatonin, oxytocin, endorphine and morphine in order to create a treatment which can – according to homeopathic theory – help in gaining empathy.

Homeopathy is a medical system based upon the belief that the body can cure itself when its self-healing powers are stimulated. To achieve this, small amounts of natural substances are diluted in water; the mixture is shaken as part of a process called potentization, which in turn is supposed to release a “spirit-like” healing force from within the substance. Homeopaths operate in the belief that the lower the dose, the more powerful is the medicine. These homeopathic remedies no longer contain any molecules of the original substance, but rather their memory. Mnemosyne, goddess of memory and river of the underworld, was a deity celebrated in the cult of the Greek healing god – Asclepius: a prayer was said to Mnemosyne before the incubatio (temple sleep), asking for her guidance in remembering the visions arising while dreaming in the temple.

Directly from a hatch on the floor of Belo Campo, river water is pumped up from the underworld into the cave-like space. It flows through a tubing system winding around a horizontally diverted dance pole, positioned to invite the visitor into a limbo before entering the therapy-cave. Two hanging funnels release globuli of homeopathically potentized maternal milk into a steam iron station which serves as the heart of the quackery tool. Used here as a fog machine, it evaporates a mist with the mixed ingredients for the treatment. Through this installation, the artist is sharing her maternal matter as a homeopathetic impulse.


May Mnemosyne help you remember your visions.

Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, hatch covered with plexi, pump, hose, river water, pate a modeler, trafo
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, hatch covered with plexi, pump, hose, river water, pate a modeler
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, installation view, hose, dance pole, steam iron station
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, detail, hose, dance pole
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, detail, hose, dance pole
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, detail, hose, dance pole
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, installation view, hose
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, installation view, hose
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, installation view, steam iron station, pvc tube filled with homeopathic globule from maternal milk C 30, hose
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, detail, hose, pvc tube filled with homeopathic globule from maternal milk C 30
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, installation view, glass funnels, ironing machine, homeopathic globule from maternal milk C 30, hose, pvc tube
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, detail, hacked ironing machine
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, idetail, glass funnels with globule
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, detail, glass funnel, homeopathic globule from maternal milk C 30
Sarah Ancelle Schoenfeld, Ironing Materialism, 2021, installation view, steam iron station, pvc tube filled with homeopathic globule from maternal milk C 30, hose, dance pole

photos ©2021 @photodocumenta

Triple Point by Hannah Rowan

Documentation of the solo exhibition Triple Point by Hannah Rowan curated by Alice Bonnot at Belo Campo, 18.09.2020 – 15.01.2021
photos by @photodocumenta

Hannah Rowan – Triple Point, Installation view at Belo Campo
Hannah Rowan – Triple Point, Installation view at Belo Campo
Hannah Rowan – Flowing as Frozen I, 2020
Hannah Rowan – Flowing as Frozen I, 2020
Hannah Rowan – Flowing as Frozen II (detail), 2020
Hannah Rowan – Flowing as Frozen I, 2020
Hannah Rowan – Triple Point, Installation view at Belo Campo
Hannah Rowan – Flowing as Frozen I, 2020
Hannah Rowan – Triple Point, Installation view at Belo Campo
Hannah Rowan – Triple Point, Installation view at Belo Campo
Hannah Rowan, Anatomy of ice, 2020, video, 14’06”
Hannah Rowan, Anatomy of ice, 2020, video, 14’06’
Hannah Rowan, Anatomy of ice, 2020, video, 14’06’
Hannah Rowan – Flowing as Frozen II (detail), 2020
Hannah Rowan – Flowing as Frozen II (detail), 2020
Hannah Rowan – Triple Point Installation view at Belo Campo
Hannah Rowan – Flowing as Frozen II (detail), 2020
Hannah Rowan – Flowing as Frozen II (detail), 2020
Hannah Rowan, Saturation Point, 2020
Hannah Rowan, Saturation Point (detail), 2020
Hannah Rowan, Saturation Point (detail), 2020
Hannah Rowan, Saturation Point (detail), 2020
Hannah Rowan, Saturation Point (detail), 2020

Triple Point is a solo exhibition by British artist Hannah Rowan whose practice reflects on the contrast between constant, fast-paced human activity and the much slower rhythms of geological processes. Her work, often inspired by living nature, not only observes these natural systems; it re- embodies them.

Evaporation, condensation and precipitation, Rowan recreates ephemeral natural systems in a continued state of becoming to reflect on their fragility. She explores notions of fluidity,
transformation and interconnectivity to speak of the existential threat and anxiety surrounding the climate crisis in connection to other cosmological forces such as technology and data overload. Informed by the Hydrofeminism of Astrida Neimanis,* she invites us to reflect on our presence as and with bodies of water. To slow down, engage and connect to wider ecological systems.

For her first solo exhibition in Lisbon, Rowan presents a new body of work that captures the moving quality of water, frequently between states of matter. By building on the existing attributes of Belo Campo, an old underground wine cellar, the exhibition aims to simulate a slippery groundwater dependent ecosystem, comparable to subterranean wetlands and caves dripping sounds of water permeating through lithic surfaces.

The first two rooms hold Flowing as Frozen a glass and ice condensation piece. The ice placed inside the hand blown glass vessel begins as a solid crystal, melts into a flowing liquid, before cooling and condensing within the glass amorphous solid.

Resonating within the cavernous acoustics of the second chamber, the video Anatomy of Ice is the documentation of a performance Rowan developed in Svalbard during the Arctic Circle Residency (2019), an artist-led research expedition. With a hydrophone submerged in the ocean, she was able to capture the loss of ancient air bubbles that once trapped in the ice became frozen archives of the atmosphere.

In the third room, the atmospheric conditions of Belo Campo shape the material transmutations for Saturation Point, a sweating salt and copper mist piece echoing the continuous circulation of water in the Earth-atmosphere system. In return, the steel sculpture, scaled to the artist’s body, exaggerates the humidity of the room by staging alchemical reactions between materials acting upon each other.

While navigating below ground, the viewer encounters water merging through physical states. Each work amplifies the humid and moist atmospheric conditions of the three adjoining chambers, and blurs the boundaries of the three main phases of the water transformation cycle — solid, liquid and gas. Such phases can coexist at the same time if a certain degree of temperature and pressure is reached. A unique combination that scientists call: Triple Point.


* Intersectional feminist scholar, author of Bodies of Water, Posthuman Feminist Phenomelogy (2017). Bloomsbury Academic.

Triple Point

Solo exhibition by Hannah Rowan at Belo Campo
18 Sept—22 Oct 2020
Curated by Alice Bonnot

Triple Point is a solo exhibition by British artist Hannah Rowan whose practice reflects on the contrast between constant, fast-paced human activity and the much slower rhythms of geological processes. Her work, often inspired by living nature, not only observes these natural systems; it re- embodies them.

Evaporation, condensation and precipitation, Rowan recreates ephemeral natural systems in a continued state of becoming to reflect on their fragility. She explores notions of fluidity,
transformation and interconnectivity to speak of the existential threat and anxiety surrounding the climate crisis in connection to other cosmological forces such as technology and data overload. Informed by the Hydrofeminism of Astrida Neimanis,* she invites us to reflect on our presence as and with bodies of water. To slow down, engage and connect to wider ecological systems.

For her first solo exhibition in Lisbon, Rowan presents a new body of work that captures the moving quality of water, frequently between states of matter. By building on the existing attributes of Belo Campo, an old underground wine cellar, the exhibition aims to simulate a slippery groundwater dependent ecosystem, comparable to subterranean wetlands and caves dripping sounds of water permeating through lithic surfaces.

The first two rooms hold Flowing as Frozen a glass and ice condensation piece. The ice placed inside the hand blown glass vessel begins as a solid crystal, melts into a flowing liquid, before cooling and condensing within the glass amorphous solid.

Resonating within the cavernous acoustics of the second chamber, the video Anatomy of Ice is the documentation of a performance Rowan developed in Svalbard during the Arctic Circle Residency (2019), an artist-led research expedition. With a hydrophone submerged in the ocean, she was able to capture the loss of ancient air bubbles that once trapped in the ice became frozen archives of the atmosphere.

In the third room, the atmospheric conditions of Belo Campo shape the material transmutations for Saturation Point, a sweating salt and copper mist piece echoing the continuous circulation of water in the Earth-atmosphere system. In return, the steel sculpture, scaled to the artist’s body, exaggerates the humidity of the room by staging alchemical reactions between materials acting upon each other.

While navigating below ground, the viewer encounters water merging through physical states. Each work amplifies the humid and moist atmospheric conditions of the three adjoining chambers, and blurs the boundaries of the three main phases of the water transformation cycle — solid, liquid and gas. Such phases can coexist at the same time if a certain degree of temperature and pressure is reached. A unique combination that scientists call: Triple Point.


* Intersectional feminist scholar, author of Bodies of Water, Posthuman Feminist Phenomelogy (2017). Bloomsbury Academic.

The Corner Piece, a project by Ligia Dias, opening September 13th 2019 22h

For The Corner Piece in Lisbon, Ligia Dias brings together artists that have an innate or symbolic relationship with Portugal. The works are displayed in the concrete cubes of Belo Campo.

The Corner Piece is a play on words referring to the store and the exhibition. The project wishes to be interdisciplinary and puts together conceptual and craft practices. The principle is to invite artists, designers and creators according to productions they have made within or at the edge of their framework. In a spirit of transversality, the project questions the notion of artistic field, the subjective value of a given object (be it art-work or product), as well as the exhibition form in itself.

A project by Ligia Dias with: Bless studio, Marta Costa Reis, Ligia Dias, Raquel Dias, Jorge Dias,Patrícia Domingues, Julien Fronsacq, Jenna Kaës, Katie Lagast, LRC designers, Vera Pinto.

SAM M LUNG

SAM M LUNG

Selected objects and works from the Missika Schönfeld Collection
Part 1, curated by Adrien Missika
with: Saâdane Afif, John M. Armleder, Kinga Kielczynska, Fabian Knecht, Isa
Melsheimer, Steve Paul Steven Paul, Mandla Reuter, Sophie-Therese Trenka-Dalton
Exhibition February 15 – 20 April, 2019