Nonsense Lab

top:
Amber Scoon
Skin
2009
handmade/recycled paper, string, wax, varnish

bottom:
Amber Scoon
Growth
2009
twine, wool, string

Patricia Gouvêa and Isabel Löfgren
Rotas de Fuga (Vanishing Routes)
2012
three-channel video, looped
2’44”

- - -

Vídeo em 3 canais realizado para a exposição BANCO DE TEMPO, de Patricia Gouvêa e Isabel Löfgren, para a Série DUPLAS, Galeria do Lago e Jardim da República (Museu da República).

Em “Rotas de fuga” as artistas não só andam pelo parque, mas também andam entre uma projeção e outra, de imagem em imagem, como sobre uma fita de moebius. Com as perspectivas do parque como pano de fundo, trocam uma mala de mãos. Nunca habitam a mesma imagem ao mesmo tempo, devido ao fato de raramente estarem na mesma cidade juntas, mas mesmo assim trocando experiências ao longo do tempo, desde que começaram a trabalhar em parceria em 2005.

Department of Biological Flow
ICQ (Inverted Cubofuturist Query)
World Record Attempt
2012
performance

-

January 12, 2012
8:46pm
Artlab Gallery
University of Western Ontario

Cataphasis, Cuts and Biological Flow

Dan & NanditaCentre for the Study of Theory and CriticismUniversity of Western Ontario

review of ICQ (Inverted Cubofuturist Query) — World Record AttemptJanuary 12, 2012Artlab Gallery, London, ON

- - -

We arrived in time for Sean’s ‘Grand Entrance’ into the Gallery as an Apparently (and/or ‘App’-parently: i.e. hardwared) Patriotic Cyber-Hoser, with Hoses and Cameras and Gadgets duct-taped to his Low-Tech Cyber-Suit apparel. Cyber-Sean then proceeded down the Visual-Arts Entrance through the Main Hall and into the UWO Art-Lab, where he clicked on an Internet Countdown (set at Twenty Minutes Forty-Six Seconds) and then Proceeded to Perform a Hose-and-Camera-and-Gadget Striptease on an Exercise Machine using Blades (knives) of Various and Increasing Sizes — enacting a kind of Low-Tech Hacker-Manifesto.

Since the Countdown was Projected on a Wall to the Right of his Exercise Machine, Cyber-Sean had to Turn his Head to the Right Repeatedly in order to Keep Track of the Countdown and Keep to its Time. When the Countdown reached Zero and its Screen then Flashed Red, Cyber-Sean was still engaged in a Gadget-removal, and only noticed that his Twenty Minutes Forty-Six Seconds had Elapsed a Minute or so After-the-Fact (Enacting the Having-Become-an-Historical-Object). Seeing the Flashing Red Screen, Realizing his Time was Up, he Dismounted the Machine and Departed.

Actually (hearkening back to our very first statement): we arrived Very Much Earlier than this Entrance and subsequent Performance, allowing us time to take-in his Art-Installation. On the Floor at the Left of the Art-Lab Entrance was a pile of Plastic-bound Print-outs from the ‘THX 1138’-inspired ‘Department of Biological Flow’ Web-pages: 59 Black-and-White pages ‘Toward a Kinoderm Aesthetics’ (the Latter being the Title of this Text). The Art-Installation consisted, for the most part, of pages from this Black-and-White Catalogue (i.e. Print-outs of the ‘Department of Biological Flow’ Web-pages) taped to the Walls of the Art-Lab — the Message, here, being the Medium (the Text being the entire Context). The Writing was on the Walls: Read the Catalogue or Read the Art-Lab Exhibition — the Catalogue is the Exhibition and the Exhibition is the Catalogue; Cataphasis. Both the Lab and the Book, the Exhibition and the Catalogue, Constituted the Cataphatic Epiderm, the titular ‘Kinoderm Aesthetics’; or so we suspected until the Performance, until the Appearance of the Cyber-Hoser, whose Hoses and Conduct were the Conduit toward which the titular ‘Toward’ Cataphatically Conducted the entire Exhibit/Catalogue.

Cyber-Sean, in the End, as the And, was the ‘Kino’ of the Cataphatic Catalogue/Exhibition’s Epidermal Aesthetic, and the Double Display, the Pair of Particulars in Play, were Precisely the Out-of-Time/Having-Become-Historical aspect qua ‘Glitch’ of his Gadgetted Kinetic and the ‘Original Accident’ of his Having-Been-Cut: his Monty-Cantsin-style cut Drawing Blood, which in the End, as the And, was the Ultimate Drawing (the ‘Original Accident’ as ‘Ultimate Drawing’): an Actual and Enacted ‘Biological Flow’.

Cataphasis, Cuts and Biological Flow

Dan & Nandita
Centre for the Study of Theory and Criticism
University of Western Ontario

review of ICQ (Inverted Cubofuturist Query) — World Record Attempt
January 12, 2012
Artlab Gallery, London, ON

- - -

We arrived in time for Sean’s ‘Grand Entrance’ into the Gallery as an Apparently (and/or ‘App’-parently: i.e. hardwared) Patriotic Cyber-Hoser, with Hoses and Cameras and Gadgets duct-taped to his Low-Tech Cyber-Suit apparel. Cyber-Sean then proceeded down the Visual-Arts Entrance through the Main Hall and into the UWO Art-Lab, where he clicked on an Internet Countdown (set at Twenty Minutes Forty-Six Seconds) and then Proceeded to Perform a Hose-and-Camera-and-Gadget Striptease on an Exercise Machine using Blades (knives) of Various and Increasing Sizes — enacting a kind of Low-Tech Hacker-Manifesto.

Since the Countdown was Projected on a Wall to the Right of his Exercise Machine, Cyber-Sean had to Turn his Head to the Right Repeatedly in order to Keep Track of the Countdown and Keep to its Time. When the Countdown reached Zero and its Screen then Flashed Red, Cyber-Sean was still engaged in a Gadget-removal, and only noticed that his Twenty Minutes Forty-Six Seconds had Elapsed a Minute or so After-the-Fact (Enacting the Having-Become-an-Historical-Object). Seeing the Flashing Red Screen, Realizing his Time was Up, he Dismounted the Machine and Departed.

Actually (hearkening back to our very first statement): we arrived Very Much Earlier than this Entrance and subsequent Performance, allowing us time to take-in his Art-Installation. On the Floor at the Left of the Art-Lab Entrance was a pile of Plastic-bound Print-outs from the ‘THX 1138’-inspired ‘Department of Biological Flow’ Web-pages: 59 Black-and-White pages ‘Toward a Kinoderm Aesthetics’ (the Latter being the Title of this Text). The Art-Installation consisted, for the most part, of pages from this Black-and-White Catalogue (i.e. Print-outs of the ‘Department of Biological Flow’ Web-pages) taped to the Walls of the Art-Lab — the Message, here, being the Medium (the Text being the entire Context). The Writing was on the Walls: Read the Catalogue or Read the Art-Lab Exhibition — the Catalogue is the Exhibition and the Exhibition is the Catalogue; Cataphasis. Both the Lab and the Book, the Exhibition and the Catalogue, Constituted the Cataphatic Epiderm, the titular ‘Kinoderm Aesthetics’; or so we suspected until the Performance, until the Appearance of the Cyber-Hoser, whose Hoses and Conduct were the Conduit toward which the titular ‘Toward’ Cataphatically Conducted the entire Exhibit/Catalogue.

Cyber-Sean, in the End, as the And, was the ‘Kino’ of the Cataphatic Catalogue/Exhibition’s Epidermal Aesthetic, and the Double Display, the Pair of Particulars in Play, were Precisely the Out-of-Time/Having-Become-Historical aspect qua ‘Glitch’ of his Gadgetted Kinetic and the ‘Original Accident’ of his Having-Been-Cut: his Monty-Cantsin-style cut Drawing Blood, which in the End, as the And, was the Ultimate Drawing (the ‘Original Accident’ as ‘Ultimate Drawing’): an Actual and Enacted ‘Biological Flow’.

top left:
August 8, 2011 - Fragility (Notebook Study)

top right:
October 1, 2011 - ICQ (Inverted Cubofuturist Query) - Nuit Blanche/Toronto

bottom:
January 12, 2012 - ICQ (Inverted Cubofuturist Query) - World Record Attempt/D S NFORMAT ON

- - -

i didn’t know it was going to happen … right?

- - -

"If you recall Hegel in the Phenomenology speaks of the disappearance of the scar altogether: He writes: ‘The wounds of the Spirit heal and leave no scars behind’ (¶669). Such is transcendence. I think that this is a very dangerous idea. And in response to it, I am obliged to say: What we have to live in is our scars. But I’m emphasizing Living in, not just borderlines, but Living in our scars. Not with our scars, but in them.”

_____

Victor Vitanza, “Design as Dasein: Scar”, University of Texas keynote lecture, October 2007.

this is the way you used to tie my hair.

this is the way you used to tie my hair.

Sean RipplePrivacy_A Lunch_Break_From_One’s_Public_Identity2011performance and text(part of the show Relational Transgressions)

- - -

Gilles Deleuze: “When a language is so strained that it starts to stutter, or to murmur or stammer … then language in its entirety reaches the limit that marks its outside and makes it confront silence. When language is strained in this way, language in its entirety is submitted to a pressure that makes it fall silent. Style—the foreign language within language—is made up of these two operations; or should we instead speak with Proust of a nonstyle, that is, of ‘the elements of a style to come which do not yet exist’? Style is the economy of language. To make one’s language stutter, face to face, or face to back, and at the same time to push language as a whole to its limit, to its outside, to its silence—this would be like the boom and the crash.”

_____

"He Stuttered," Essays Critical and Clinical, University of Minnesota Press, 1997, p. 113.— also see Walking with Lygia (2009) by Department of Biological Flow.

Sean Ripple
Privacy_A Lunch_Break_From_One’s_Public_Identity
2011
performance and text
(part of the show Relational Transgressions)

- - -

Gilles Deleuze: “When a language is so strained that it starts to stutter, or to murmur or stammer … then language in its entirety reaches the limit that marks its outside and makes it confront silence. When language is strained in this way, language in its entirety is submitted to a pressure that makes it fall silent. Style—the foreign language within language—is made up of these two operations; or should we instead speak with Proust of a nonstyle, that is, of ‘the elements of a style to come which do not yet exist’? Style is the economy of language. To make one’s language stutter, face to face, or face to back, and at the same time to push language as a whole to its limit, to its outside, to its silence—this would be like the boom and the crash.”

_____

"He Stuttered," Essays Critical and Clinical, University of Minnesota Press, 1997, p. 113.
— also see Walking with Lygia (2009) by Department of Biological Flow.

Department of Biological Flow
ICQ (Inverted Cubofuturist Query)
[World Record Attempt]
forthcoming, 2012
performance

- - -

Becoming-Insect

If contemporary explorations in the arts and sciences are increasingly turning to the insect world for inspiration, then we must inquire after the particular types of relations that we are describing in this valorization. Put differently, with the thousands upon millions of insect species currently flying, crawling and swarming over the earth, the non-human turn in art and philosophy can pretty much locate any metaphor it wishes in order to explicate a particular form of expression.

What are the particulars? Insects, in toto, offer very different tempos, life expectancies, modalities of movement, moments of articulation, et cetera, than we humans — perhaps we turn to them too readily to find new models for living? In our valorization of the insects and the corresponding non-human turn are we simply abdicating our responsibility for the capitalist regime that only we humans have created?

Do we seek to simply represent insects, or do we seek a becoming-insect towards a new consideration of ethics within the contemporary ecologies of the electric?

Department of Biological Flow
Friend, Louis. (2011). 'Lament for Asger Jorn'.
performance
in process (current running time: approx. 35 mins.)

- - -

Daniel Kunitz: “Original as these strategies are, a few artists put written narrative to an even more inventive use. If stories operate through seduction, finding compelling ways to maintain intercourse with the reader, then the result of such couplings is, inevitably, the production of offspring. Several of the artists mentioned literalize this trope. For them the story is a means of generating new art objects. Mellors’s Rabelaisian tale ‘Giantbum’ was written to provide the scenario for various video scripts he subsequently made and also as a vehicle for the creation of animatronic sculptures. For the past decade or so, everything produced by the artist Mai-Thu Perret has sprung from ‘The Crystal Frontier,’ her ongoing written tale of a utopian, all-female feminist community in the southwestern U.S. desert. Composed of discrete fictional texts in various genres — expository prose, diary entries, letters, daily schedules, and so on, parts of which she sometimes displays and sometimes publishes — the narrative creates a world that Perret then fills with objects. ‘The story was imagined at the beginning,’ Perret says in a 2009 interview, ‘as a kind of machine that makes the art.’”

_____

Texting: The Artist as Writer as Artist,” ARTINFO: Modern Painters, June 2011.