Sunday, April 04, 2010

“The deliberately obfuscating nature of Memory––disguised behind false partitions, beckoning us between barriers––underscores this sense of the personal as tied to subterfuge: Memory lures us toward it, but try to explore it intimately and security guards wave us away, and roped barricades trip us up. With Kapoor’s hollow artwork we see less than we want but perceive more about institutional authority than we think.” source: Zehra Jumabhoy reviewing Anish Kapoor @ Guggenheim Museum,
“Virtual to real, man-made to live, outer space to deep sea and beyond, coupled with one voice that takes us to and fro, the accumulation of scenes we encounter could just as well be documentary as fictional. Herein lies the transmission of “information” and the grid that connects the production of art and it’s perception, the role of the viewer, and more crucially perhaps, the esoteric meanings trapped between time and space. The simultaneous emission of projections and audio progress in ever larger circles, placing emphasis on significant functional elements in the micro (Berkeley Systems’ quirky 1989 flying toaster screensaver) and rippling out to penetrate even the edges of macro-reference: electronics, nature, and galaxies. However, in keeping with Froment and Gander’s interest in the cracks within these systems, a consciousness homes in on the transcendent. In the darkened space confronting gelatinous tentacles and kinetic tapes, we can reach a purpose less easily defined; a black hole in the paradigm of analysis that hits more mysterious inner workings beyond reference points and interpretations. In this place, somewhere dark and vague but uniquely substantive, we float in and out of body and mind.” source: press release Aurélien Froment and Ryan Gander @ Khastoo Filed under: Art Baloney Jackpot

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