“Ends Again”

Supplement | London
115 Wallis Road
June 28, 2014–July 27, 2014

Philomene Pirecki, Image Persistence (Reflecting 1 Generation 4), 2014, c-type print, 75 1/2 x 22".

“Ends Again,” features four emerging artists offering forms of networked memento mori for a world in which one’s data might be worth more than one’s body. In Cecile B. Evans’s video AGNES (The end is near), 2013–14, the artist’s flute-voiced, interactive algorithm AGNES—who lives, for now, on the Serpentine Galleries website—delivers a soliloquies on her own potential demise, which are accompanied by pop-funerary piano refrains from Rhianna’s Stay, 2012. Philomene Pirecki’s ongoing series “Reflecting,” begun 2008, includes prints that are rephotographed each time they are exhibited. They capture the artist figure, dissolving into the shadowy reflection of the C-prints—as the series continues to be exhibited, the human form will be completely eliminated, leaving just the object itself.

Eloise Hawser’s video Sample and Hold, 2013, depicts the artist’s father standing obediently still as red lasers of a 3-D scanner digest his body as data. Placed on the floor nearby are pale green rubber casts of his tasseled loafers. And the frailty of human bodies is most explicitly conveyed by Jesse Darling's Standing Sculptures, 2014, which consists of two frail steel stands reminiscent of those used to hold IV bags above hospital patients. Each is strung with exhibition support materials, such as air cushions used for packaging and fluorescent lighting. The sculptures’ electric cables snake across the space as though sucking at the walls for a life force more precious than air.

— Laura Mclean-Ferris