Ines Weizman (architect/ theorist),
Dave Clements (scientist/ cosmologist)
Wilfredo Prieto (artist)
This project deals with questions of authenticity, originality, fake, law and architecture.
A 3D printer serves as a prototype to examine its energy consumption and its aspects of entropy through the deviation of form in serial production.¬†3D printers and scanners have recently become a new challenge to the conventional methods of manufacturing and distribution of goods.¬†In the field of product design and architecture, 3D printers, capable of manufacturing very complicate and intricate shapes present already irreplaceable¬†tools for design, usually as prototypes rather than serial products. But the substitution of manual modelling and the precision, opened by the pairing of¬†3D scanner and 3D printer also allow for new possibilities of reproduction, or literally copying. Similar to the discussions at the beginning of photography,¬†the notion of the authentic and unique work of art or creative production is held, once again, in suspense, inviting intense questioning. The 3D printing¬†technology complicates the problem of mechanical reproduction as it concerns not only the product, but also the machine, that now could potentially¬†reproduce its own parts. The construction of a
is conceived as a mimicry of forgery (with emphasis on its performativity) trying¬†to ‚Äòimitate with obsessive care‚Äô the appearance of the original, i.e. that of the 3D printer. Similar to a copying laboratory, intensifying the pleasurable rituals¬†of learning, familiarisation and invention, drawings and animations of the individual elements of the existing machine will be produced and explored in¬†respect to their function and form with the intention to eventually replicate the machine. Both concepts, the self-referentiality in serial production and the¬†self-replicating machine raise not only questions of form, but also of copyright, intellectual property and patents which will be pursued through¬†writing, mapping and discussions with experts, engineers and lawyers.
Cerith Wyn Evans: ”Everyone’s gone to the movies, now we’re alone at last…”
14 Apr‚Äî22 May 2010
white cube Mason’s Yard
“Rinsed with mercury / Throughout to this bespattered / Fruit of reflection, rife / With‚Ä¶ distortion / (Each other, clouds and trees). What made a mirror flout its flat convention? / Surfacing as a solid‚Ä¶ / And what was the sensation / When stars alone like bees / Crawled numbly over it?…”
The Changing Light at Sandover, James Merrill
White Cube Mason’s Yard was pleased to announce an exhibition of new work by Cerith Wyn Evans. Taking its title from a song by Steely Dan, ‘Everyone’s Gone To The Movies’ (1975), Wyn Evans created two major installations that transformed the gallery spaces, engaging the viewer through the interaction of light, sound and reflection.
Suspended in the ground floor gallery was ‘C=O=N=S=T=E=L=L=A=T=I=O=N (I call your image to mind)’ a polyphonic sound mobile adapted from a series of ‘audio spotlights’ by the American holosonic inventor Joseph Pompei. Suspended in tiers, sixteen mirrored discs gently rotate in mid-air, transmitting directional, ultra-sonic beams of sound. This consists of a multi-layered soundtrack or sound collage created by Wyn Evans using various audio sources amongst which are his own piano arrangements and field recordings gathered by the Lovell radio telescope in Jodrell Bank. These constantly shifting bursts of audio disorientate the viewer as the polished ‘mirror-speakers’ reflect and deflect the sound off the surrounding walls, creating a phenomenological experience that can neither be shared nor repeated. In the stairwell, Wyn Evans has placed a white neon sculpture titled ‘Subtitle’, which could be read when reflected on the adjacent glass window, interrupting the view to outside. The neon spells out the phrase ‘Thoughts unsaid now forgotten‚Ä¶’, occasioning a cognitive slippage whilst, at the same time prompting us to recollect.
In the lower ground floor space Wyn Evans created a spectacular installation of light columns entitled ‘S=U=P=E=R=S=T=R=U=C=T=U=R=E (‘Trace me back to some loud, shallow, chill, underlying motive’s overspill‚Ä¶’)’ that references the former electricity sub-station which stood on the site now occupied by the gallery. This soaring infrastructure consists of seven columns that reach over five metres high, and which are built out of drums of tubular light bulbs, stacked in varying lengths and diameters. The layout, while following no apparent guiding rule creates its own order, intuitively informed by principals of spatial balance that the artist has encountered in Japanese rock gardens, galactic alignment and site groupings of stars in astrophotography. Yet here, the transparency of these vertiginous flutes, defined by flecked-wire filaments that run through their centre, appear to hide nothing. Intermittently the columns surge to a blinding brightness, then gradually fade back down to black, channeling an incandescent sense of breath and ethereality.
In the small adjoining gallery Wyn Evans hung a series of twenty-two framed works on paper, titled ‘F=R=E=S=H=W=I=D=O=W’, that references a poem by Stephane Mallarm√© titled ‘Un coup de des jamais n’abolira le hasard’ (A throw of the dice will never abolish chance), which was published posthumously in 1914. The poem was reprinted in 1969 by Marcel Broodthaers who described it as an ‘image’ after having blocked out the various typefaces and arrangement of words using black bars. Wyn Evans takes this a process a step further by framing each page of the poem, both recto and verso, like a series of intervals, glazed on both sides. Every line of the poem has now been cut away leaving a composition of interstitial gaps on the gallery wall – framing the materiality of the already framed ‘white cube’.
The Artist would like to thank Dr Tim O’Brien of the University of Manchester’s Jodrell Bank Centre for Astrophysics for their support and assistance.
A fully illustrated catalogue, including an interview with the artist by Hans Ulrich Obrist, will accompany the exhibition.
Cerith Wyn Evans lives and works in London. In 2003, he represented Wales in the 50th Venice Biennale and has participated in the 9th International Istanbul Biennial (2005), Yokohama Triennale (2008) and will be in the forthcoming Aichi Triennale this summer (2010). Last year, he collaborated with Florian Hecker and Thyssen-Bornemisza Art Contemporary on ‚ÄòNo night No day‚Äô at the 53rd Venice Biennale (2009). He also collaborated with Throbbing Gristle on a major visual and audio installation titled A=P=P=A=R=I=T=I=O=N which was exhibited at both the Yokohama Triennale and the Tramway, Glasgow. Recent solo exhibitions include Kunsthaus Graz (2005), Mus√©e d‚Äôart moderne de la ville de Paris, Paris (2006), MUSAC, Leon (2008), Inverleith House, Edinburgh (2009) and Tramway, Glasgow (2009).