The screen is used to divide the exhibition space through varying axes of installation, video, drawing, sound, writing and sculpture. The screen is deployed as a veil and a threshold allowing for successive works to re-configure relationships with the viewer. The occluded circle appears intermittently as a partial structure, activating an overlapping agency between works.
The exhibition title is taken from an essay of the same name by Mladen Dolar. In his essay 'The Tiny Lag', referencing Wittgenstein, Dolar examines the borders of language on experience. In this instance the border becomes a conceptual marker of limitation and permission.
Central to the exhibition is the split channel audio work Tiny Lag. In the lead up to the exhibition Charman and Knight became interested in the formats of correspondence as a means of organisation, discourse and punctuation between works. Both artists followed YouTube instructional tutorials based upon the children’s puzzle game The Rubik's Snake. The tutorials were often accompanied by users’ nonsensical verbal instructions. Both artists attempted to follow these tutorials exploring the disparity between description and action. The discordant pops, hisses and clicks are direct recordings of the altering Rubik's Snake. The resulting asynchronous stereo soundtrack is played through constructed speakers that distill the modular geometric form of the Rubik's Snake.
The Fire Station Work/Live Residency Programme provides 12 units of combined working and living space at a subsidised rent. The programme is open for national submission and runs for five years at a time.