he she it / did said would | Erika Hock, Alex Reynolds, Julie Born Schwartz29. Jun - 4. Aug 12 / ended Tenderpixel Gallery
"[Projects are] above all the declaration of another, new future that is thought to come about once the project is executed. In order to build such a new future, one first has to take a leave of absence, a time in which the project shifts its agent into a parallel state of heterogeneous time. This other timeframe, in turn, disconnects from time as society experiences it - it is de-synchronized. Society's life carries on regardless.
...every project thrives solely on the hope of being resynchronized with the social environment. And it is deemed a success if this resynchronization manages to steer the social environment in the desired direction, while it is deemed a failure if the run of things remains unaffected by the project's realization."
Boris Groys, from 'The Loneliness of the Project'
Information and entertainment define our image of audience. In it, a pre-engaged clientele is delivered content, for which they anticipate rewards: amusement, knowledge, or heightened emotion. Perhaps an audience does not actually exist when content defies these expectations.
Following the Groys statement, is it even necessary for a resynchronization or understanding of content? Comprehension may only revert it to the information/ entertainment categories, nullifying any hope of a different type of success. This may be along the arc of an alternative construct referred to by all content: parallel timelines inhabited by plausible, anonymous characters whose invasion into our existence is perpetually imminent. Consumers of this material are not an audience, but become the actualization of these other histories.
he she it/did said would brings together three young artists for whom such consideration may be individually and collectively beneficial. Each participant will adapt their still-active projects to the exhibition: two narratives from Alex Reynolds in Marta and When Smoke Becomes Fire..., Erika Hock's architectural choreography utilizing both Shifters and fragments from Cineorama, along with a scrutinization of memory in a new project by Julie Born Schwartz.
Erika Hock (b. 1981, Dschangi-Dscher, Kyrgyz Republic) works in Düsseldorf and Ghent, and currently resident at the Hoger Instituut voor Schone Kunsten in Belgium. She completed studies at the Kunstakademie Düsseldorf in 2009 under Professors Rita McBride and Irmin Kamp. Recent exhibitions include ORCHESTERWECHSEL at Schloss Dyck, Juchen (2012); Shifters at the Wilhelm Lehmbruck Museum, Duisburg (2011); and The Shape of Forms to Come at Kuttner Siebert Galerie, Berlin (2011).
Alex Reynolds (b. 1978, Bilbao) currently works in Berlin. She completed her BA in Fine Art at Central Saint Martins in 2001. Recent exhibitions include the screening of her film SPINARIO at the Fundación Joan Miró, Barcelona (2012); A Trip to the Moon at the Bonniers Konsthall, Stockholm (2012); BOOM, a public commission organized by ENPAP, Bilbao (2012); and Texto de Sala at Galerie Crevecoeur, Paris (2012).
Julie Born Schwartz (b. 1981, Chicago) works in London, and is currently undertaking postgraduate studies at the Royal Academy of Art. She completed her BA in Fine Art at Goldsmiths College in 2011. Recent exhibitions include OUT: Art from Goldsmiths at Ingenious Media (2011); The Supra-Sensorial Bin at The Victorian Vaults (2011), and Gail Pickering's film programme at Simon Bedwell's The Hole (2011).
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