"The labyrinthine basement under the Snack Bar"
Reality is an occlusion of the real, ideologically produced and reproduced. That is to say so-called “reality," as a collective consensual hallucination, buries potential, hiding it away from our collective imaginary. And as the statement, "That's just the way things are," actively masks how things could be (and how things got this way), the apparent rationality of advanced industrial/post-industrial civilization masks its intense irrationality.
One way to think about the work is as an attempt to contend with the unrepresentability of the real, the unrepresentability of the abstractions that shape contemporary life. Another way to think about it is invoking science/speculative fiction's project of "engineering feedback between its preferred future and its becoming present." (Eshun)
Taking technology and infrastructure as object, subject, and lens produces a gate into thinking through a complex knot of problems. Reflecting an enduring fascination with the sharp point of the sword of technological innovation, the works point to technology’s embedded contradiction: its liberatory potential that is very nearly imperceivable in the shiny glare of its spectacularly seductive administration of every one of us. In this it is a microcosm of the apparatus that structures reality.
What’s hardwired in the grid of the grid?
This is a practice that is grounded research, critical theory, and radical discourses. It is hyper-aware of the material conditions of the production and reproduction of art and artist. These concerns are necessarily feminist.
𝕬𝖑𝖑 𝕮𝖔𝖒𝖕𝖚𝖙𝖊𝖗𝖘 𝕬𝖗𝖊 𝕭𝖊𝖆𝖚𝖙𝖎𝖋𝖚𝖑
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