Yuri Pattison’s current exhibition at this gallery, which is located in an industrial park, gives the archiving of visual information in both real and virtual storage spaces the readymade treatment. Here, three shipping crates underscore the show’s thematic of the gallery as industrial storage unit. Through an investigation of the aesthetic reproducibility of the white cube––its essential four white walls––a spatial comparison is made between the gallery and shipping crates, particularly those transporting artworks across the world. This examination also extends to industrially manufactured digital equipment––cell phones, cameras, camcorders, computers, and laptops––that facilitates the mechanical production, reproduction, and dissemination of images.
Taped to the rear wall is an array of photographs (their subjects ranging from a pile of red sand to a telecommunications outpost housed in two freight shipping containers), while in the center of the room two vitrines each contain flat-screen monitors streaming Internet image feeds, such as found footage of nuclear surveillance following the 2011 Japan earthquake sourced online and Pattison’s own recordings of abandoned 2004 Athens Olympic Games sites. All of the imagery can be viewed at www.focal-plane.org, a website-as–white cube that breaks from temporal or spatial confinement and treats the image itself as a storage unit. Disrupting the frame of the exhibition even further, a rogue screen is placed atop one vitrine in an act of aesthetic rupture. Indeed, as Duchamp used industrial objects to break aesthetic standards within exhibition contexts, the digitized image is here treated in a similar fashion.