Your double my double our ghost
The installation acts a space for the consideration of intimacy and meditation– both alone and with others that may share the space – through the merging of the viewer’s own reflections articulated through a composition of shifting light and emerging sounds which fill an otherwise dark chamber. Functioning similarly to the classic funfair mirror– the flexible silver two-way mirror sheeting forming an ethereal hanging centrepiece– the work invites the viewer to consider representations of themselves which appear distorted and transient, and which merge with those around them to form ‘new presences’. In this sense the viewer may see themselves multiplied or doubled with another viewer, or find themselves alone in a rare moment of literal reflection providing a contemplative space or eliciting a hallucinatory fantasy bringing forth ideas in neuroscience around the Self and Other.
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.
Taking in her paintings is like opening your eyes after a nap in the sand. The colourful masses on her canvas appear to be in motion, plunging the spectator into a semi-conscious state. Beyond the merely pictorial, Ana Montiel’s works read like spiritual, dreamlike invitations, that hit you with a feeling of satisfaction and involuntary entrancement. Any tangible form looks acid-washed; a silhouette or a ray of sun gives way to a sfumato of light and pigments. The artist is interested in the conceptual issues of perception and phenomenology, based on the premise that reality is nothing but a collective and controlled hallucination.
John Russell and Joey Holder
A dialogue between these two artists on themes of myth, ritual and meaning, as much about their exhaustion and propensity to bewilderment as any potential they may inhere, for recuperation for and by language, culture and society.Joey’s work, ‘Religiously observant’, is inspired by alchemical and occult ideas, the world of spirits and hallucinations. The wall print features a gold CGI blazon of the Tetragrammaton It references the Sumerian mythology of the Annunaki a race of ancient chthonic fertility Gods, subsequently inscribed in a series of publications by Zecharia Sitchin (a kind of elder statesman of conspiracy theorists worldwide) as descendants of aliens, who enslaved the human race to extract gold from the earth.John’s work similarly ranges over territories of opposition: between ancient and contemporary; mythic and kitsch; between the viscid and primordial. It takes as its subject the vector of congealment, in the Marxist sense of the way labour power is congealed in commodities and so forth, extending this metaphor into an aesthetics of myth and ritual, emptied out, flattened, compacted like a sedimentary layer of anthropocene garbage, for the post-historical epoch.The sound component provides an aural complement to this structure of refuse, exhaustion and abjection. Mixing pre- or -post-linguistic utterances, grunts, groans, screaming: a kind of secular glossolalia chaotically interwoven with whalesong, deep techno and political oratory.
Since the 1960s, Lucas Samaras has devoted his art to the evocation of an intensely private, obsessional, sometimes hallucinatory realm. Among the many motifs that occur in his work, the chair is especially prominent. The “Chair Transformation” series has included provocative sculptures executed in a variety of materials including wood, wire mesh, and mirrored glass. Throughout the series, Samaras transforms the ordinary object into a fantastical one, evoking a dreamlike metamorphosis. Here the artist suggests an animated flight of stacked chairs. A deceptively simple form, the sculpture appears from different viewpoints to be upright, leaning back, or springing forward.
Untitled Kinetic Sculpture #2
The old train station, having itself become a contemporary art museum, presents another kinetic sculpture within the exhibition dedicated to Cory Arcangel: “Untitled Kinetic Sculpture #2”. It is majestic and almost as banal as it is intriguing. Banal because it is composed of two columns of shelves on rollers and intriguing because these literally dance, synchronised in their bending. It takes a bit of time to get used to the work. The time needed to convince oneself that it is not an hallucinatory vision but shelves very much like every day ones, except for the fact that they are not inert. Powered by electricity, they are animated by perpetual undulatory movements that sublimate them while conferring upon them their status as a work of art. Though made of metal, they seem as supple and graceful as dancers and almost fragile, but with a regularity that is entirely robotic.
the phonenix is closer than it appears
L’artiste allemand Thilo Frank a développé ce projet qu’il appelle “Le Phénix est plus proche qu’il n’y paraît”, une installation dont la dimension est de 4 x 4 x 8m et se compose d’une structure faite de miroirs et de cristaux, à la fois à l’extérieur et à l’intérieur, à la recherche de la distorsion de la réalité issue de l’agrandissement ou de la déconstruction de l’espace.A l’intérieur du cube, les gens peuvent expérimenter une sorte de désorientation en devenant le point focal spatial en étant entouré de leurs propres réflexions physiques dans la pièce environnante le corps du spectateur pour devenir une réflexion imaginaire et hallucinante.