Laura Larraz
Bing, Bing, Bong
2025
Acrylic and oil on linen
170 × 130 cm

Laura Larraz
Bong
2024
Pencil and oil on linen
29 × 26 cm

Laura Larraz
Bing
2024
Pencil and oil on linen
31 × 29 cm

Hannah Sophie Dunkelberg
les fleurs du mal
2024
Polystyrene, lacquer, wooden frame
197 × 147 × 5 cm

Hannah Sophie Dunkelberg
les fleurs du mal
2024
Polystyrene, lacquer, wooden frame
60 × 58  cm

Laura Larraz
Bing, Bong
2024
Acrylic and oil on linen
150 × 190 cm

The unbridled rage of two enemy cats sets the tone for the duo exhibition, Bing Bing Bong Bong Bing Bing Bing. As I talk to Laura Larraz on the phone the week before it opens, she describes the exhibition title as not only a transcription of a Donald Trump meme, but as a kind of ‘category’. The term is apt: it suggests a vast, Dewey Decimal ordering of the world, each entry accruing ever-longer, more granular nomenclature, like a Borgesian map. In this scenario, one might be tempted to file the exhibition under ‘miscellaneous’, or ‘bric-a-brac’, but something far more precise is at stake.

Larraz’s Kleines Arschloch presents various iterations of painted staccato cats – screaming, whining, screeching – faces twisted in expressions of super­lative anger or sullen refusal. In ‘Bing Bing Bong’, lozenges of black marks hover atop translucent swathes of colour, with a speed of line that recalls cartoon scuffles, where limbs are lost to clouds of violence. Bold, calligraphic lines suggest a deliciously furious chaos: an anger so heightened it threatens to dis­integrate the cats themselves, pushing form to the point of failure. Kleines Arschloch, indeed. Between the brushstrokes, the works extend the artist’s caricature of explosive emotions as political allegory, and in this exhibition are deeply referential, recalling short-form cat content, comics, cartoons, a domesticated or neutered rage. The works operate as both commentary and explication, invoking a contemporary politics of spectacle, showmanship and farce. Their insistence on surface and immediacy stages a playful, if pointed, futility.

In contrast, Hannah Sophie Dunkelberg’s works hinge on implication. Under the title ‘les fleurs du mal’, she presents two wall reliefs containing drawings of quotidian objects with lines raised like scar tissue, suspended within flat planes of plastic-like packaging material. Drawing on the lexical field of industrial manufacture, these works allude to objects that evade identifi­cation, hermetically sealed, withheld and unusable. Dunkelberg has previously referred to this method of making as a kind of ‘prototype’, ideas held in a state of suspension, emphasising the constructed nature of the image. A quiet unease is present here, in tension with a palette of soft, girlish, and almost playdoughlike hues. Recurring motifs – stars and flowers – re­call the visual language of animated violence, where dazed figures are haloed with twinkling stars.

Despite it being over ten years since they studied together in Hamburg, both bodies of work explore, in very different ways, surface as mode. They produce, almost as collateral, a slippage between the depicted and the real: a radical shift into a new, exhilarating, and ‘fatal’ reality. Perhaps this is the category Bing Bing Bong Bong Bing Bing Bing ultimately names: a shallowness of affect as the only viable response to the present. A regime of fury and spectacle, where meaning manifests as ornament, surface, and caricature.

Text: Lydia Earthy

Hannah Sophie Dunkelberg
(b. 1987, Bonn, Germany) lives and works in Berlin and Cologne, Germany. Recent solo exhibitions include Pasticci, Edition VfO, Zurich, 2025, and A room of my own, Mehdi Chouakri, Berlin, 2024. Recent group exhibitions include CAT, Casino Luxembourg, Luxembourg, 2025-26; Softsmiths Swarożyce, Sculpture Centre Poland, Oronsko, 2025; Secret Language, Gunia Nowik Gallery, Warsaw, 2024; and Berliner Realistinnen, Haus am Lützowplatz, 2025.

Laura Larraz
(b. 1989, Zaragoza, Spain) lives and works in Berlin, Germany. Recent solo exhibitions include Wyrds, Chris Sharp Gallery, Los Angeles, 2023. Recent group exhibitions include Trespass sweetly urged, Tanya Leighton, Berlin, 2024; The Cave, Le Maximum, Los Angeles, 2022; and The Maestro says it’s Mozart but it sounds like bubble gum, Gattopardo, Los Angeles, 2022.

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