✿ This evening I had dinner with Roby. He’s a vegetarian friend who invited me because I’m one of his only friends who eats meat and he had bought a piece of goose, which might have been smoked or cured, but definitely had been shot. We didn’t know how to cook it, so boiled half, and pan fried the other half in thin slices. It wasn’t thin enough, so we both found ourselves chomping on shrapnel, the size of a ball bearing. Neither of us broke our teeth. He’s also excited that Philip’s work will be shown in Leipzig; my experience of advocating for shows at bcc moves between the intention of the artist and the social space in which we interact. As such, it’s sometimes a point of reflection for what I like being around, what I like to think about, and I wonder what duty there is to reflect a broader swathe of imagined audience. The goose we ate had been shot over Schiphol airport, and the marketing as edible is a new classification. We can confirm that it tastes more like beef than chicken.
Philip Ullman, What Dying Feels Like
➥ Hesitate to pity the animated lab mouse, rather, enjoy the rooms she is placed in. Thoughtfully pieced together from renders of furniture that have passed physical tests of durability and function, their resilience transforms them to the symbolic. The lofty heights of western science in practice are coupled with a necessity of proof. Staged encounters with symbolic tests are a hallmark of the bildungsroman. Film holds the eye, or the eye reflects.
The cruelty of Ullman’s worlds lie in the unclear tests all subjects have passed through. Animated from captured movements and voices, tethered into fictional 3D realities, his proposals of frame evoke a temporality between cinema and gaming. Feeding and drawing the gaze of the viewer, the mouse is a character foil who may already be crumpled. What did she preserve?
✿ Imagine living on a planet with six suns that never experiences Darkness. Imagine never having seen the Stars. Then, one by one your suns start to set, gradually leading you into Darkness for the first time ever. Image the terror of such a Nightfall.
Scientists on the planet Kalgash discover that an eclipse - an event that occurs only every 2049 years – is imminent and that a society unfamiliar with Darkness will be plunged into madness and chaos. They realize that their civilization will end, for the people of Lagash have a proven fear of Darkness, but they are unable to predict the insanity and destruction that will accompany the awesome splendor of Nightfall.
➥ The science fiction novel Nightfall, written by Isaac Asimov in 1941, tells the story of the planet Lagash and its people. Lagash is about to experience nightfall for the first time after 2,049 years of full sunlight, with a sunset. The expected darkness terrifies the planet's people since, for 2,049 years, they are genetically in need of light.
Inspired by Asimov's story, the video piece, Origins, investigates the hypothesis of eternal sunset to open a dialogue of Cosmogony, concerning the origin of Cosmos and its possible endings. In its post-apocalyptic tone, the work reflects the axis of time to create a moment for the universal experience. Under this prism, the video focuses on the mystery between reality and fiction, offering glances at a different future, even glimpses of events that seem lost to history. Each work in Origins reveals itself startlingly, transmitting an otherworldly essence. After all, it would be as if someone encounters remnants or ephemeral monuments of life and absence while floating in psychedelic dreams between our universal, past, present, and future.
The video piece, Origins, was shoot during a warm sunset in Schinias Beach, Greece, featuring 6 autonomous works of regional artists. This off-site installation’s video documentation transforms into artwork with added visual effects and OST, composed* especially for the video. The 10 min. video on display is an end result of open research, focusing on capturing a glimpse of a high meditative state. Additionally, the physical works revised to flow with the off-site context will appear only within the video piece and not be transferred into the gallery space.
✿ The Fountain
If you throw a coin,
Do a handstand with the object of your choice
Any acrobatic gesture
Choose a partner
You said you wanted to start over
I thought future was the place of truth:
You can carry it with you, place it in the palm of your hand and
Sink into the water,
Place a piece of ___ , choose the best location,
It will be an island, guarded.
Try to alternate your realities, see them as the mixed fusion of contradictions,
I think you can see clearly,
Accept compassion as a form of resilience
Stand by your place, whenever,
Visualize an entity, fix it, find a way to make it hold.*
BCAA System, No~One is an Island
Laura Gozlan, White Foam
Neckar Doll, Education of War
Alessandro Nucci, Florescence Chemistry of Yoga
Lisa Signorini, Mercury Retrograde (Loosing you for good)
Graham Wiebe, Last Meal
Online Show: *Lucille Leger, The Fountain
➥ Formula Minima brings together empirical formulas in different aspects, each one holding parts of a truth. As sensible prescriptions take forms of little secrets, magic tricks, or mathematical equations, the first act to access the initial knowledge of things begins. Works of seven artists plan the first date, a temporary gesture in an intimate meeting, right before the physical nature of elements manifest possible failure. Yet, another possibility occurs when the combination of empirical formulas develops into research characterized by nonsense, a study aimed at itself. In front of this sensitive composition, the absurd and the real emerge simultaneously, in a fluid understanding.
✿ You can be taught to fight, but you can't be taught how to fall in love.
Or so the saying goes. In reality, it's not so simple. Everything we consider the most natural has the greatest accumulation of ghosts, past ideologies, and present stimulation pulling the invisible strings of our jerky knees. In the constant hum of machines, mythologies, cellular processes, and needs we are alone - yet we are never alone because we are made of the constant hum of machines, mythologies, cellular processes, and needs. Converging at a single brilliant point of light, the line of our vision: breathe in.
We are the fever dreams of our ancestors.
Social scenes sway between familiar and unfamiliar things, forming all kinds of strange pictures. As night falls, the experience of the day is reproduced distortedly in the mind. We fill our time with violent collages and mechanical errors while refusing to give in, spiraling through automation until it points to some reality that makes people face to face.
We have no way of knowing who revolutionized whom, who controls whom, every day we walk together, carrying our own precious deaths. There is a sense of out-of-control behind the image: the ghost is beyond reason, the order is liquefied into molten iron and then poured on the ground, supporting the gleaming garbage dump, the fable of the world is about to come pouring out.
The light keeps flashing, heralding the future.
Gondris Cavel, CYBORDER
Kludde (Conjunktival, Nooit Meer Naar Huis, Jannes Snyers, Glenn De Cock, Kris Catteau, Julie De Kezel), Kludde compilation
Pure Ever (Rifqi Amirul Rosli, Zhiyi Cao, Raigo Law, Elsa Wong, and Hilary Yeo), KNNCCBNunununu
B. Maus, 星洲米
Chen Pin Tao, K141
Clara Wong, 抗疫三寶
Suze Chan, Birdsong 2
Stach Szumski, Incognitative Constructivism II
Underground Flower (Ava Phen, Torre Alain, Valerie You, Rasheed Mirza),
notes toward a theory of Deadstock
➥ In the enclosed space of 命运和消耗CUTTY GUTS, digital contents and simple sensory components brought together, asking for the pure attention of the viewer — curated installation remarks on the interaction between presented digital content, its receiver, and its given context. The notion of reality is challenged by situating the spectator in a particular position to engage with the digital content. In this first encounter, the digital dimension's reality reveals itself, with its undeniable impact on physical reality. What comes next is the question of how this interaction forms, continuously and fluidly. The installation in this quest gives a hint - intense effects and emotions from our physical environment influence our memory of experiencing digital content and vice versa. It is an endless loop, with fuzzy boundaries between our minds, bodies, customized digital content, and situations.