7 metal pannels are set up to from aright angle. 7 numbered chapters with inscritions. W: 21' H: 8' D: 1/2".
year: 1998
Seven metal panels, each 8’ high, set perpendicularly to the floor, with numbers and sentences inscribed on them.
These short sentences the viewer is confronted with are actually “information states,” linguistic tokens. Their intention is not to explain anything, nor to give insight into the essence of things – rather, they mean to emphasize the limitations of our language and of our knowledge of the world. With every attempt at reducing the language to pure information, we are forced to use narrative summaries instead. A new kind of non-communicating statement is required in this situation – a kind that would be able to express the new meanings.
These short messages imply that there are competing narratives and bursts of emotion and flashes of fear happening in the world that they try to inform us about – and these are unavailable to us. They bring about awareness of some sinister outside agenda, and of the presence of some dangerous forces.
Our interpretations sum up our favorite stereotypes through which we perceive reality. What we know is only a collection of useless individual impressions. No ontological question is implied by their meaning: they exist simply because they are vital to us.
An object communicates meanings in a language of its own, and it is difficult to reach beyond its limits.
The structure of such communication lies very far beyond human standards; moreover, this setup does not provide any binding, explicit and universal standards for the reading of the message that is received. Left without any clear instructions, the viewers are inevitably forced to make risky choices. The aim is to eliminate “their” experiences (different from other people’s) regarding the interpretation of any object or work of art; it is an attempt at circumventing the oppressive, ever-controlling stereotypes that are entrenched in their minds. Explaining the meaning of a work of art is impossible without reaching beyond the realm of art.
No attempt is made here to present an object that would fit into any specific concept; ideas are omitted here because their presence adds nothing to our knowledge. In this way a fascinating space emerges, where no one owns the “truth” and where everyone has the right to understand/ interpret any phenomena and things that already exist.
Untitled (Unification Code)
Installation.
7 metal pannels are set up to from aright angle. 7 numbered chapters with inscritions. W: 21' H: 8' D: 1/2".
year: 1998
Seven metal panels, each 8’ high, set perpendicularly to the floor, with numbers and sentences inscribed on them.
These short sentences the viewer is confronted with are actually “information states,” linguistic tokens. Their intention is not to explain anything, nor to give insight into the essence of things – rather, they mean to emphasize the limitations of our language and of our knowledge of the world. With every attempt at reducing the language to pure information, we are forced to use narrative summaries instead. A new kind of non-communicating statement is required in this situation – a kind that would be able to express the new meanings.
These short messages imply that there are competing narratives and bursts of emotion and flashes of fear happening in the world that they try to inform us about – and these are unavailable to us. They bring about awareness of some sinister outside agenda, and of the presence of some dangerous forces.
Our interpretations sum up our favorite stereotypes through which we perceive reality. What we know is only a collection of useless individual impressions. No ontological question is implied by their meaning: they exist simply because they are vital to us.
An object communicates meanings in a language of its own, and it is difficult to reach beyond its limits.
The structure of such communication lies very far beyond human standards; moreover, this setup does not provide any binding, explicit and universal standards for the reading of the message that is received. Left without any clear instructions, the viewers are inevitably forced to make risky choices. The aim is to eliminate “their” experiences (different from other people’s) regarding the interpretation of any object or work of art; it is an attempt at circumventing the oppressive, ever-controlling stereotypes that are entrenched in their minds. Explaining the meaning of a work of art is impossible without reaching beyond the realm of art.
No attempt is made here to present an object that would fit into any specific concept; ideas are omitted here because their presence adds nothing to our knowledge. In this way a fascinating space emerges, where no one owns the “truth” and where everyone has the right to understand/ interpret any phenomena and things that already exist.