Düsseldorf

A.K. Burns, Leave No Trace (Negative Space 000), 2019, Still from the 28-minute, 15 second five-channel HD color video component of a mixed-media installation additionally comprising a 48 × 48 × 85 1⁄4" cube, speakers, a plastic skull, used tires, and ratchet straps. Clara López Menéndez.

A.K. Burns, Leave No Trace (Negative Space 000), 2019, Still from the 28-minute, 15 second five-channel HD color video component of a mixed-media installation additionally comprising a 48 × 48 × 85 1⁄4" cube, speakers, a plastic skull, used tires, and ratchet straps. Clara López Menéndez.

A.K. Burns

JULIA STOSCHEK COLLECTION | Düsseldorf

A nosebleed, a thick pipe from which liquid drips, a juicer spilling pools of bejeweled color, the hazy aura of a sun eclipsed by the moon—these were among the images of leakage in the three video installations, a silent film, and twenty-one collages in A.K. Burns’s exhibition “Negative Space.” Another kind of leakage was evoked by Chelsea Manning’s military jacket, which reappeared throughout the series of sci-fi films on view, including two older works, A Smeary Spot (Negative Space 0), 2015, and Living Room (Negative Space 00), 2017; and the more recent Leave No Trace (Negative Space 000), 2019, a five-channel video installation premiering here and projected onto a white cube sitting askew on a fake human skull. Such leakiness was not exactly literal—WikiLeaks, get it?—but, rather, a metaphor for what escapes despite systems of control delimiting boundaries (and binaries) that perpetuate

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