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Putting Our House in Order


“The world hangs on a thin thread and that is the psyche of man.”
— Carl G. Jung


Traces of a changing world order — maps, agricultural tools, a geode, fragments, gestures, moving images and sounds — are brought together, taken apart, and rearranged again and again. Through image creation, installation, making and performance, the artists explore fleeting moments of cohesion between memory, senescence and hope.

Beginning on Sunday 15 February 2026 with a minimal constellation of sound, movement, image and assembled materials, Goldhahn, Mutka and Young initiate an installation-performance that expands and contracts according to its own inner tempo.

The opening display presents a provisional gathering of works: weathered forms, tools, maps and early sonic and choreographic traces — an initial state, neither fixed nor fully revealed.

Over the following six days, the installation evolves through accumulations and erasures. Materials migrate across the space; images are redrawn or dissolved; sounds enter, recede or decay. The dancer’s interventions fold lived time into the room, while sonic residues settle like sediment. The artist-witnesses shift and reorder their fragments, testing new relations and provisional harmonies.

As part of this evolving ecology, a number of iron Wings— plough forms shaped like waves or flight — are released into the Devon landscape. Participants may assume custodianship of a plough, select a site of personal or symbolic significance, and return it to the soil. Each location is recorded through a three-word reference and becomes part of a growing composite map of the county: a dispersed, collaborative gesture towards letting go, renewal and sharing.

This participatory strand, titled Ploughshare (from the Old English plōgscær:plōg meaning plough, scærmeaning shear or cut), unfolds within a landscape of appearance and disappearance and continues beyond the exhibition as an expanding, artist-initiated fieldwork.

The installation itself is conceived as a migratory structure. Following its initial unfolding, Putting Our House in Ordermay reassemble in other locations, adapting to new architectural conditions and local ecologies. Each iteration invites a renewed constellation of materials, gestures and participants, extending the composite map into other regions. Integrated through our website and archival framework, these dispersed gestures accumulate into an evolving cartography not bound to any single gallery.

By weaving together performance and the mutable logic of assemblage, the artists construct a living sequence of friezes that reflects on what it might mean, collectively, to put our house in order — not as finality, but as a sustained ecology: a negotiation with time, entropy and the uncertain possibilities of renewal in a world itself in flux.




Artists


Installation, Film footage, Sculptures, Ploughshare — Eila Goldhahn
Dance Performance — Eeva-Maria Mutka
Photography, Music, Film editing — Stuart  J Young
Japanese Flute Performance — Mike McInerney






Works

Installation

  • Wall of Maps (carpet fringes, driftwood branches, broom, broomstick, geode, rope, wooden trolley, 2026)
  • Maps of Devon (framed map and map fragments, glass, looking glass)
  • Wings (iron, 2025)
  • Film: Mount Batten, River Nahe Dam, Cologne Station

Sculptures

  • Wings (glass, iron, gold leaf, 2026)
  • Record Player (beeswax, copper, iron, 2026)
  • Weight and Wings (iron, rope, 2026)

Photographs

  • Where Bricks Were Stacked (C-print, A1, Shared Habitat, 2019)
  • Where Iron Was Won (C-print, A1, Völklinger Hütte, Germany, 2021)
  • Where Mrs R Lived (C-print, A1, Shared Habitat, 2022)

All works POA.

ENQUIRY CONTACT:
Email: eilagoldhahn@gmail.com