views of Untitled, 2022;
mixed media installation including inkjet on soft-fiber cellulose, polymer sheet, polymer glass, polymer paint, galvanized steel, 4h2m sound recording and mix;
text sources include vito acconci, hanne darboven, ezra pound, julia kristeva, edouard glissant, gilles deleuze;
sound sources include gioacchino rossini, lykke li, morphine, underground resistance, ludwig van beethoven, gerald donald, viola valentino, tim maia;
special thanks to ashraay, julian, sophia, yasaman;
Mid Residency exhibition at California Institute of the Arts, CA, January 2022;
documentation by yasaman alipour
Untitled (2022) could be referred to as an event investing the relationship between truth, knowledge, and witness. The syncopated space of a constant aftermath, where the materiality of a shattered polymeric screen explodes in fixating words that announce without explaining, that configure without describing. These words are the words of a poem written across the 67 days prior to the space's 'opening' and devoid of theme, focus, direction, destination; a collector, the entire dislocation of a life onto something.
The poem unfolds along the space's perimeter (periphery) and pronounces a life of excess, control, excess, poiesis, brainfeeding, ending, the kiss, the trouble with description and describing, configuration, pain, the animal, critique, juices, malady, taming, zones, policing, masks, brighid, navigating and navigation, loving, artemis, water, more kuss, self-mining, islands, retaliation, among other things.
Polymer sheeting offers a variable degree of transparency-opacity depending on its spatial configuration with respect to what lies in its proximity, lighting intensity, and viewing angle. But it also transforms, sublimates into a sculptural, landscape form, once a certain degree of opacity is reached. Think of a sort of threshold, beyond which the ‘factual’ substance of this material shifts: similarly to what happens with a gaseous ⇔ liquid ⇔ solid circuit, a point is given at which this plastic acquires different properties altogether. This point, this threshold, while remaining unidentifiable, was (re)presented in/as the space.
Polymers present in the space both as a landscape (a thing?) and as a measure of transparency/opacity (a relation?) - and not knowing where the threshold really is.
The visitor is implicitly invited to alter both dimensions: by entering the space, stepping and altering the morphology, crashing and creating little plastic hills and valley; and to increase the transparency of the plastic covering the text by pressing it with their fingers against the wall: in most cases, taking such ‘liberty’ amounted to being able to read or not read.
Untitled (2022) was influenced by Giorgio Agamben's text Testimony and Truth, published in the collection Quando la Casa Brucia, Giometti&Antonello, 2020. Agamben's text and Untitled (2022) could be read and experienced as commentaries of each other.
Untitled (Poem), 2022, pp. 2-37, inkjet on paper, nail holes
Scans of the pages printed and nailed for Untitled (2022)