Antoine Henri Becquerel, Robert Breer, Nina Canell, Ian Cheng, Georges Demenÿ, Jason Dodge, Ryan Estep, Dennis Oppenheim, Eileen Quinlan, Michael E. Smith
Los Angeles, July 12–August 23, 2014
Opening reception: Saturday, July 12, 6–8pm
Off the stairs on the second floor, an immersive digital field of floating orbs, frantic lines, and hulking humanoid forms shiver and hump in an amorphous desert landscape. A mess of beings unpredictably crash and bleed into one another in an endless algorithmic flow. Electric eyes emit an energetic buzz that can be felt from the east end of the gallery to the west, while small white domes silently meander across the floor. Nearby, smeared ink and awkwardly stretched canvases bear witness to the deadening effects of anesthetics on flesh and nerves.
The walls are lined with photographs. Some resemble anatomical runoff or blooming algae, while others are latticework of ambiguous aqueous blobs. In these vestiges of pictures, water destroys the image rather than tempering the corrosive effects of darkroom chemicals. Layers of plastic and emulsion separate and degrade, resulting in snapshots of this arrested disappearance.
Further on, sonic waves evaporate and harden, and a lightning rod sends virtual heat to a pan. A copper frame bears the marks of heat and oily fingers on its dappled, gleaming surface. The ghostly image of radiation hovers near a severed communication cable resting motionless on a pedestal.
Throughout this long corridor, an invisible energetic presence pulses beneath the surface. On the way out, a hand shakes violently up and down, dissolving into a blur.
Technokinesis is organized by Jenny Jaskey and Andrea Neustein. It opened in New York on June 28, 2014 and continues there until August 25. For five hours a day, the works in each location will hum in unison.
Magician Space is pleased to present ‘Time is Money’ the second installment of a unique back-to-back exhibition series with Guangdong artist Li Jinghu. The exhibition brings together two newly commissioned works, offering a poetic rumination on society, industry, and capitalism - of the boundaries erected that separate humanity from nature. Comprising moving-image, sound, as well as sculptural and painted elements, the exhibition moment is translated into a nocturnal setting inspired by the reality of Dongguan – an emerging ‘factory of the world’. In continuation of the first exhibition, the title embodies the missing half of the billboard slogan ‘Time Is Money, Efficiency Is Life’ – an ominous phrase used in South China throughout the 80s.
Two distinct installations will occupy each of the exhibition rooms, underscoring an intertwining and ongoing personal ‘historiography’ of Dongguan in flux. Reflecting an ongoing interest in the fugitive imprints of labor and life, the exhibition includes the installation ‘Today’s Screening’ - a re-staging of video halls that once littered streets nearby factories. A popular nighttime activity for factory workers, the setting of the video hall is distilled into its most basic components: the soundtrack and projected image. Mass-produced plastic crystals – a source of livelihood and at once an incongruous presence in this city – cover the projection film-screen, abstracting a continuous circularity of images into a refracted dazzle of darkness and light. With this sleight of hand, a social moment transforms into a spectral image, as projection becomes the performing act.
The second installation ‘Moonlight’ inhabits the main exhibition hall, marking a new series of wall-based works. As tempo, subject matter, and soundtrack shift through different cadences in the smaller room, ‘Moonlight’ offers a further counterpoint through a fixed sequence of varying geometric forms. Here, each form alludes to moonlight as it traverses through crevices and the elongated gaps of buildings – in the city, moonlight neither dances nor shimmers like it does between living branches of trees. It instead retains a rather motionless etiolated glow, but with an industrial airbrush to coerce the surface paint into craters and ridges, the ‘skin’ of these indelible marks provide a new sensory field held together in a state of pleasant suspension. We are reminded of this celestial being in the sky - of the void beyond the quotidian and of its enduring visual potential.
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