drunken walks / cliché / corrosion fatigue / ebay
02 May - 09 Jun 2013
DRUNKEN WALKS / CLICHÉ / CORROSION FATIGUE / EBAY
Cheyney Thompson, Florian Pumhösl, Sam Lewitt, Moyra Davey &Jason Simon
2 May – 9 June 2013
The works in this exhibition draw on techniques of reproduction, such as stamping, molding, etching, and photography, in attempts to re-direct their legibility as means of relating signs to their material substructure.
These resources are thrown into relief in a process of isolating their mediating function, roughening conventions of communication and allowing organizational logics of production to appear as they break down.
Sometimes this looks like:
The wanderings of inebriated actors: concrete excursions through randomly made decisions. A hardened algorithm models pollen on water.
Drunk-walking down Wall Street:
Cement, tin, copper, metastasizing on the price index.
Sedimentations of an abstract vocabulary: precisely scaled plaster tablets rubber-stamped with cliché. Needle and thread extracted from an infinite textile surface.
“Cliché dissolves the gesture that patiently managed to trace out an identity
of relations into a relation of resemblance ... softening the technical nature of the operation and its ‘cold’ exteriority by a warm confusion.”
(Gilles Chatelet)
Corroding lines of communication: flexible etchings of stressed-out circuits.Oxidizing control panel conduits pulled from hand to eye interfacing.
An acid bitten surface suspends a weathered syllabary:
Haruspex divines the voice-off of lines executed but not read.
The deadpan affect of transactional pictures:
Snapshots in the style of items on Ebay. A casual isolation of coarse objectivity.
Photos in the style of interpellation:
The look of monetization. Grids of un-gilded revenue kept under the bed.
Cheyney Thompson, Florian Pumhösl, Sam Lewitt, Moyra Davey &Jason Simon
2 May – 9 June 2013
The works in this exhibition draw on techniques of reproduction, such as stamping, molding, etching, and photography, in attempts to re-direct their legibility as means of relating signs to their material substructure.
These resources are thrown into relief in a process of isolating their mediating function, roughening conventions of communication and allowing organizational logics of production to appear as they break down.
Sometimes this looks like:
The wanderings of inebriated actors: concrete excursions through randomly made decisions. A hardened algorithm models pollen on water.
Drunk-walking down Wall Street:
Cement, tin, copper, metastasizing on the price index.
Sedimentations of an abstract vocabulary: precisely scaled plaster tablets rubber-stamped with cliché. Needle and thread extracted from an infinite textile surface.
“Cliché dissolves the gesture that patiently managed to trace out an identity
of relations into a relation of resemblance ... softening the technical nature of the operation and its ‘cold’ exteriority by a warm confusion.”
(Gilles Chatelet)
Corroding lines of communication: flexible etchings of stressed-out circuits.Oxidizing control panel conduits pulled from hand to eye interfacing.
An acid bitten surface suspends a weathered syllabary:
Haruspex divines the voice-off of lines executed but not read.
The deadpan affect of transactional pictures:
Snapshots in the style of items on Ebay. A casual isolation of coarse objectivity.
Photos in the style of interpellation:
The look of monetization. Grids of un-gilded revenue kept under the bed.