*Please note that in response to the current COVID-19 situation, the opening and exhibitions will be postponed. These exhibitions will be included in our 2021 program and open in the early months of 2021.
26 MARCH-1 MAY
Opening: 26 March, 6-8 pm
Exhibition continuing until 1 May
Jana Hawkins-Andersen with Ainslie Templeton
‘What remains when the soft parts burn away….A puddle.
Like a body once the clothes are waterlogged or rot off. Less defined contours.
Hierarchies of decomposition: bodies, if dead, normally go first, then clothes, then bones perhaps.
Or in this case fabric then rock-clay, leaves then trunk then cracked stone firmament.
Never Say Never Again. Iron Butterfly. Broken Embraces. Dangerous Liaisons. The Last Exorcism Part II.’- Ainslie Templeton
Jana Hawkins-Andersen, The curse or the cure (detail), glazed earthenware resin, Cymbidium orchid, red natal grass, ribbon, pipe and lichen, 2019.
Exploring myths surrounding the transformation from physical to intangible data, Link Tree questions concepts of value, narrative, database and language produced by interactions with digital technology. The works in the exhibition speak to concepts of digital hording, while revisiting ideas relating to digital promises, cyber-myths of the 1990’s and techno utopias, examined through a generational lens.
Any storage of digital information in which files can be accessed in any given order implicitly suggests an archive or database. As Lev Manovich argues in his essay, ‘Database as Symbolic Form’ (1999), the concept of the database presents a new symbolic form for how we might structure and navigate the world. This idea of understanding the world as a “list of items”, however, stands in contrast other culturally significant forms of meaning-making, such as narrative. In a narrative, information is organised in a ‘cause-and-effect trajectory of seemingly unordered items (events).’ (1999, 85) As Manovich suggests, a new understanding of meaning making can be identified when examining ways in which linear narrative and database function together as a hybrid system. E-hording or digital hording are both terms that have started circulating in recent years. Digital hoarding describes a phenomenon in which the collection of material possessions has been replaced by an accumulation of data. Arguably, processes of digital hoarding— or the de-materialisation of physical possessions, and their transformation into digital collections—suggest implied narratives that are somehow embedded within the material world. Here, significantly, it is through the absence of traditional narratives that these relationships to the material world can continue to exist within the digital archive. In this sense, collecting 3D scans of my personal belongings in order to build a digital database constitutes a useful starting point for artistically speculating upon contemporary convergences between material and digital bodies and their networked relationships. Working with 3D scanning also enables a hybrid materialisation of bodied and disembodied information. By extension, this process also invites an examination of the kind of languages, grammars and poetics that potentially govern these hybrid forms.
Corinna Berndt, Link Tree Line, digital collage, dimensions variable, 2020.
Bolero: A Tale of Tech Support
Bolero: A Tale of Tech Support explores the exhausting repetition of getting online support, using Maurice Ravel’s orchestral work Bolero as a tool to describe the never ending escalation of tech ‘issues’. This interactive work looks at late capitalism and how we interact with global corporations.
Sophie Penkethman-Young, hand of the artist, GIF, 2019. Image courtesy of the artist.