“before breakfast we talked about the furthest visible point before it all disappeared” at Tenderpixel, London
“before breakfast we talked about the furthest visible point before it all disappeared” is a multifaceted project that includes a group exhibition, event and a publication produced in collaboration with Tenderbooks.
The publication gives space to the research leading into the exhibition and events, but also allows for parallel investigations to unfold and ideas to diverge. While the publication will be circulated and distributed during and after the exhibition to ensure an afterlife to the conversation, the events will provide an opportunity for a wider audience to engage with the thinking process, to share anecdotes and corresponding ideas.
“before breakfast we talked about the furthest visible point before it all disappeared” examines the construct of objects that are informed by a relation to space, time and materiality. According to Bruno Latour, objects exist in the axis of their networks and bring with them a sense of connectedness, or an expanded anamnesis triggered by their ambiguous qualities.
Anecdotes and elective affinities between art, alchemy and history inspire an open conversation within the exhibition. Scientific dogmas and beliefs in supposed elements reinforced by philosophy or religion slowed down the discovery of certain rules of physics and chemistry. Some widely accepted hypotheses of the current age, especially regarding cosmogony, predictably also await to be refuted.
Time has been extensively crucial to the research paths of objects’ (pre)existence. In this framework, time is a metaphor, intangible or somehow unthinkable, almost like an assumed, although never quite proven element. The show addresses ideas around time and objects to make something visible that eludes perception, thus giving the impalpable a form.
“Let us in fact make a theoretical reconstruction of an imaginary object, basing our work on fragments of unknown function and uncertain origins. Whatever emerges from this we will not know exactly what or is, or what world it belongs to.” – Bruno Munari: extract from Arte come mestiere (Design as Art).
Holding reference to the oscillation between two or more different states as the pieces foreground the fleeting and
the unknown, they exist in the threshold between appearance and disappearance and point to a sphere beyond the immediately visible: be it a dream, a potential second part, or another manifestation of the material that had a different set of connotations at one point in history.
Each work conveys a potential narrative (talk about an encounter or problematic) linked to a specific and extensive research. They also possess a sensibility towards ungraspable phenomena. The members of The School of the Event Horizon engage with an elusive, and mysterious entity, the idea of the black hole. As a starting point they “harness their propensity to warp and mutate space-time”. In her research Cathy Haynes draws upon different sources, stories and anecdotes to unravel various ways of understanding time throughout history. Time maps and other devices help to open up divisions between fields of knowledge that limit our sense of permission to explore. In his work Andrea Zucchini explores the paradoxical relationship between spirit-psyche and matter, and point to a reality beyond, in which they are no longer distinguishable. The physical, chemical and psychological reactions that occur
on a molecular and cosmological level are used as a platform of the investigation. Kentaro Yamada’s pieces often implicate the relationship in between the body and the work. He puts on display the relations and exchange between the old and the new, the original and the copy, and what these manifestations suggest to the mind.Exploring the tacit existence of objects with an acute sense both of materiality and the transient, Fay Nicolson’s marginal notes point to an abundance of options, highlighting the importance of chance encounters.
“[…] and there under a furze bush had found a very remarkable piece of iron. It was almost identical with the glass in shape, massy and globular, but so cold and heavy, so black and metallic, that it was evidently alien to the earth and had its origin in one of the dead stars or was itself the cinder of a moon. It weighed his pocket down; it weighed the mantelpiece down; it radiated cold. And yet the meteorite stood upon the same ledge with the lump of glass and the star-shaped china.”
–Virginia Woolf: Solid Objects, A Haunted House, and other short stories.
until 26 July 2014
“before breakfast we talked about the furthest visible point before it all disappeared” installation views at Tenderpixel, London, 2014
Courtesy: Tenderpixel, London.