“Cut words into pieces and scramble them”
-Brion Gysin
-Brion Gysin
Gysin’s cut-up machine shuffles and upsets semantic orders. It abstracts concepts of reality imposed on us and brings together what is apparently incompatible. The process of shattering and decoding words and images has the potential to exceed existing myths and the official systems upon which we base our knowledge.
Modern sensibility has developed through a rhythm of metaphoric destructions and reconstructions in media including painting, assemblages, sculpture and poetry. We can here find a similar approach in reference to our present time. A constant state of uncertainty and fragmentation instigates an attempt to question the efficacy as well as the reliability of fixed categories and given meanings.
By celebrating processes of spontaneity and chance, the artists in the exhibition participate in a polymorphic conversation around the potential of generating loose and asynchronous associations of words, images and materials over the dominant tendency to rely on predetermined schemas.
Modern sensibility has developed through a rhythm of metaphoric destructions and reconstructions in media including painting, assemblages, sculpture and poetry. We can here find a similar approach in reference to our present time. A constant state of uncertainty and fragmentation instigates an attempt to question the efficacy as well as the reliability of fixed categories and given meanings.
By celebrating processes of spontaneity and chance, the artists in the exhibition participate in a polymorphic conversation around the potential of generating loose and asynchronous associations of words, images and materials over the dominant tendency to rely on predetermined schemas.
When belief systems collapse, it is indeed our time to re-shuffle and rearrange the pieces of the puzzle into alternative combinations.
Church of agency 1; Viktor Timofeev, 2015; Giclée print ; 118.9 × 84.1cm
One Million Years; Marcus Kleinfeld, 2013; Collage; 50 × 40cm
Elements; Marcus Kleinfeld, 2013; Collage; 50 × 40cm
Kingdom; Marcus Kleinfeld, 2013; Collage; 50 × 40cm
What is a human being?; Emily Jones, 2015; Giclée print; 75 × 300cm
Church of agency 2; Viktor Timofeev, 2015; Giclée print; 118.9 × 84.1cm
We Are a Way to Know Itself; Salvatore Arancio, 2012; Looped video with sound; 00:03:25
Aeon; Marcus Kleinfeld, 2013; Collage; 50 × 40cm
Church of agency 3; Viktor Timofeev, 2015; Giclée print; 118.9 × 84.1cm
A rose is not a rose; Marcus Kleinfeld, 2014; Looped video-collage with sound; 00:13:11
Load-Bearing Point; James Balmforth, 2012; Steel and concrete; 66 × 58 × 58cm
Untitled; Marianne Spurr, 2015; Grid; 11 × 66 × 44cm
Eyes have no pulse I; Fay Nicolson, 2015; Screen print and acrylic on canvas, steel bar; 263 × 180cm
Eyes have no pulse II; Fay Nicolson, 2015; Screen print, pastel and acrylic on canvas, steel bar; 236 × 184cm
Simmetry Collapse; James Balmforth, 2014; Cast iron, steel, epoxy resin; 26 × 16 × 16cm
Untitled; Marianne Spurr, 2014; concrete, denim, paper, cloth, glue, branch; 14 × 23 × 30cm
Exquisite Collapse was curated by Carolina Ongaro, co-founder of Jupiter Woods, London.