About
SLIP: Pull back/De-enhance 230
Laura Buckley ⢠Martin Fletcher Systems House ⢠Ilana Halperin ⢠Andy Jackson ⢠Francesco Pedraglio ⢠Maria Taniguchi ⢠Adam Thompson
The following paragraph is a re-imagining of Robert Smithson's work âAsphalt Rundown', 1969, perceived through the âEsper Machine', a photo analysis tool, depicted in the film âBlade Runner', directed by Ridley Scott, 1982.
'In a forgotten quarry a heavy goods vehicle is emptying it's load, SLIP, an asphalt load that trickles down, a landslide, an imitation of the painter's abstract dripâ¦. SLIP Zoom in/Enhance 90%, (to take a closer look); crystalline fragments reflect and refract the light. SLIP Zoom in again/Enhance 34; a shiny cube like stone is migrating. Geometric form, at odds to it's rounded neighbours, SLIP Track 45/Enhance, Stop/Move in/Stop: 14; miniscule slates, identical in appearance, modular entities, removed from their white-walled resting place, SLIP, asphalt, a recognition of our ancestors ideals, split into disparate parts. SLIP, discordant parts chaotically placed in a Perspex toy box ready for the taking, SLIP Pull back to original/De-enhance 230%: a cascade of moving ground, an unsteady platform, SLIP'. Give me a hard copy right there.'
This paragraph contains elements from the film âBlade Runner' directed by Ridley Scott, 1982
The Esper Machine, a voice-controlled computer, analyses a photograph by revealing a three dimensional capture of an event enabling the viewer to zoom into a higher resolution image navigating and scrutinising surfaces and turning corners. As a premise for the exhibition, the above paragraph introduces elements of the works in âSensorical Slip' (Part I and Part II) through the context of Robert Smithson's iconic work, Asphalt Rundown', Rome 1969. Asphalt Rundown is analysed with the Esper's mechanical precision, to try and piece together its component parts by digitally scanning the work using overlaid grids, as the viewer calls out commands and coordinates. Smithson's approach to his vast entropic works was to develop a photographic practice, none of which dealt with traditional composition or conventional image making. 35mm slide transparencies reduced representation making the images themselves displacements. Sensorical SLIP loosely refers to the âNon-Site' (an indoor earthwork) as a three dimensional logical picture that is abstract, yet it represents an actual site. The artists within this exhibition re-work and re-analyze the aesthetics left by this minimalist trajectory.
Laura Buckley works sculpturally with projected light, making it visible as a medium and causing its dispersal in space, therefore the built environment and structural support that surrounds it have become an integral part of the work. Importantly, Buckley reveals the process by which works of art and images generally emerge, revealing the methods of installation and equipment she uses. However the works reductive qualities are at play as rich figurative image is bounced and reflected across mirror and Perspex geometric planes transforming it into substance and its own materiality. The scenes of everyday life depicted in Buckley's films are transported to an extramundane dimension by the psychedelic process of her practice.
In 2010 Laura Buckley will have her first solo exhibition at Mothers Tankstation, Dublin and was shortlisted for the 'Converse/Dazed Emerging Artist Prize', with an exhibition of her work at the Stephen Friedman Gallery, London. Group shows include â...Et De Lumiere' (with Jacob
Mattner), 401 Contemporary, Berlin, 2010, âLaura Buckley, Hugo Paris, Haroon Mirza & Doug Fishbone, Rokeby, London, 2009 and Material Presence at 176 Gallery, 2008
Maria Taniguchi avoids tangible subject matter unless it has been processed through a much wider network. Her works are often the result of displacement or distribution, with an insistence that the boundaries of the objects are unknown or pose questions in some way. In Taniguchi's works there is normally an outcome that is part image and part object, which re-organizes the tenuous links existing between subject, representation and process. Using the Internet determines how an idea's point of entry can be developed or processed. New windows open new scenarios, changing and diverting the initial idea and the informational content relies directly on the logic of the network.
Maria Taniguchi was a 2009-2010 LUX Associate Artist. Recent exhibitions include 'Lost in your eyes/Foreign Correspondent' , Form Content London in 2009 'No Soul For Sale: Festival of Independents', Tate Modern, London, 'There's fire on the lake', Kunsthalle Marcel Duchamp, Cully, Switzerland 'Homestay', Osage Gallery, Shanghai, China in 2010. Forthcoming exhibitions include 'Complete and Unabridged: A Survey of Philippine Conceptualism', Osage Gallery, Hong Kong and La Salle ICA, Singapore.
Adam Thompson distances himself from hands-on making excavating found debris and the stuff of the everyday. He keeps intervention to a minimum, carefully selecting objects and altering them in order to develop new explanations and new relationships with each other. Using the shallow horizon of the gallery floor to reinforce his interest in landscape he simultaneously combines intimate proximity and irreducible distance. The work addresses notions of: no beginning, no end. Philosophical questioning of metaphysics and materialism take president to the basic structure of framing landscape, often leaving the bigger questions about âthe universe' unanswered.
In 2010 Adam Thompson had solo shows at MOT International, London, Showreel (curated by Paola Caravati), Milan and , âUnthinged' at Hayward Gallery, Concrete. Group exhibitions include 'Landscape Without Horizon' at Museum Schloss Moyland, Germany with a forthcoming exhibition at Saatchi Gallery 'Shape Of Things To Come: New Sculpture'
