The Temptation of Saint Cement, image by Daniel Y. Harris
LINES
OF SEPARATION
Concrete
Jukebox
We made new songs from
old, then buried them beneath the house. The resulting silence hardly lasted
any time at all.
Live
Data
A glorious, chaotic, celebratory
mix, where the unknown and very specific jostle for attention with the obvious
and overstated, woven from lines of thought and sound into a dedicated
workspace.
Glitch
Whatever each reader or
the physical splicing for example or the fine art world in themed clusters an
impossible selection or perception traces. The product of that process and the
absence. Everyday materials.
Modular
forms
Visitors were unable to
enter the complex assemblages or be present at the dawn of the world. Abstract
machines have proper names, us physical forms have nicknames. We privilege
consumption and portable units.
Dangerous
Ground
Readymades jostle for
attention as artifices and constraints become ocean. Everything leads to
modernism, which speaks of a past about which it can no longer provide us any
knowledge of.
Nomad
A metaphor tears itself
free from a stationary whirlwind. It is not enough to substitute the space
traversed for the movement, we must challenge presumed authority and reframe conceptual
landscapes, imaginatively reconstitute the familiar.
In
Motion
Let us not dwell too
much on the dimensions of time. It may be that nothing has happened and is but
a piece of history. This is tomorrow, that was the journey. What is one to do
about a mirror whose surface is always changing?
Insomnia
New technologies for the
production and consumption of culture are displaced by the chaos of destruction,
replaced by rupture and reversal. The lines of separation are detached from
their original context and form, the network of signs is infinitely circular.
Chance
operations
Pop culture blocks the
flow and anchors us in the world. Scraps of social memory are torn, faded and
unglued, found again and cobbled together and uniquely coloured. Corrugated
metal resonates with DIY aesthetics, cut-up thirftstore records that unite
image and sound.
Blank
tapes
Found tunes, good times
and sampled beats are used to cover the facade of the museum. Both art and
design are exhausted; strategic misuse has failed to liberate form from the
fictitious machine of expression. It is always a question of conjunction,
nothing is ever final or complete.
—Rupert M. Loydell
