Let us, by a flight of imagination, suppose that Rome is not a human habitation but a physical entity…an entity, that is to say, in which nothing that has once come into existence will have passed away and all the earlier phases of development continue to exist alongside the last one…
— Civilisation and Its Discontents, Sigmund Freud, (1930)
INFO-PURA takes Freud’s concept as a point of departure for the four artists to reflect upon the idea of a lived experience/scientific experience cache – where knowledge and information are both trans-historical and simultaneous, and the experience of the universe in time as a spatial dimension begins to pile up on top of itself, jamming and distorting.
The exhibiting artists probe contrasting impressions of a continuous present. Nothing has ever ended. Everything is information and is absorbed into spatial time. Everything is perceived at once. This flood of information begins to clog and choke the dimensions. Memory in all its forms rushes forward in a chaotic stream of data and meanings, and mingles with the immediate present.
Taking cues from the competitive subculture of case-modding high-spec PCs, KITTY CLARK presents an installation of custom engraved acrylic works, alongside an immersive virtual reality environment, reflecting upon the plausibility and desire for technological salvation.
In DANIEL SWAN’s video and print series, ‘He Will Think I Am There, And Then I Am Not There’, we watch a solitary super-being trapped in a state of eternal anticipation, existing in a void between the worlds of videogame characters, movie arch-villains and trading card demons.
RUTH ANGEL EDWARDS presents 3 new, semi functional, wearable sculptures in the form of alternative 'subcultural relic' accessories. In addition to this, a new video work made during her recent 2-month research project in Los Angeles, California, unearths traces of the counter cultural histories that remain mythologised in amongst the maximal, accelerationist landscape of the area's tourism today.
The jesmonite forms presented in ‘Tastes Like Pepsi Cola’ by JALA WAHID serve as a prophetic visual counterpart to the heavy clogging of the dimensions - swollen clods, both sensual and tough, create a strong presence on the gallery floor. The viscous, gelatinous imagery of ‘My Serous Lining’ instills in the show a strong sense of the potential materiality of spatial time.