INNER SPACE
A Chamber Gallery
What is the opposite of a computer
Opening: 05.05.2018 4pm - 7pm
Closing: 05.27.2018 2pm - 5pm
As we upload our memories, hopes and dreams in an attempt to escape our mortal flesh, stitching together bits from Instagram/ Twitter/Snapchat to the next hot app of the minute, embedding ourselves to the eternal interwebs - we stare into the flickering blue depths of HEV, a Frankenstein - our avatar stares back and reaches outward for connection. These incorporeal beings are straining for touch, deprived of body and thus of all sense organs. In a state of desolate loneliness, our human desire for meaning is reduced to existential anxiety. With every memory we share digital decay, begins a single bit that changes from 0 to 1, every repost - another two; three bits are flipped and the digital self does not endure. As Hume put it, “nothing but a bundle of different perceptions, which succeed each other with an inconceivable rapidity.”
What is the opposite of a computer: an analog expression of death and dying in the digital age.
Participating Artists:
Come then, dear good creatures, and let us enjoy with you the beauty
Through decoding and re-encoding, artist Megan Mueller and Inner Space: A Chamber Gallery will explore the fluidity of boundary between the real and fantasmic. Through our physical engagement with the social media tool “Instagram,” we will manipulate a work of Mueller’s by posting and reposting, then reposting the repost. Capturing and printing at defined intervals until the reopening of our gallery in the spring of 2018. It is our postulation that though this repetitive act the hierarchy of human over machine will devolve and place both on a horizontal field. The tool will become the teacher revealing the flaws in our construction of knowing.
This work is part of a larger body of work entitled Resendirese ya viene la noche, ( Surrender, here comes the night). This work is an homage to the quiet subtle moments found in a veiled aperture. This tranquil space gives permission for close encounters with faint whispers and soft embraces that may illuminate the warmth of one’s inner being (pneuma).
Landscapes from the Lost and Discarded
They’re waiting…
I was raised by a hoarder who placed importance on the care or neglect of an object, and this has influenced my way of ascribing meaning to “things”. I believe that humanity can be understood through the way they treat objects: through both the things they choose to keep, and by the things they throw away.
Through both materials and scale change I manipulate objects to study human behavior. I like breaking down things to their most basic elements in order to study and understand them. By analyzing and categorizing the remains of these elements I seek to understand what makes an object precious. I hope to gain understanding of people through their need for things and the better I’m able to manipulate and break these things down the more I understand about people, and myself.
Capsule although ostensibly concerned with birth (albeit one at risk), is also about the representation of (and obsession with) suffering in Western, Christian-based cultures and makes reference to the filmmmaker’s own birth in the British Military Hospital where the medical staff and patients were massacred in the Second World War during the fall of Singapore.
Focus is a portrait of Pierre, a redundant French miner, who claims to have been plagued by poltergeist activity since he was pushed into an open tomb as a teenager. This descent into a pit heralded his descent into the mines a few years later. During his monologue, Pierre recalls the death of his first wife which, according to him, was also accompanied by paranormal events. The ghost story related in the film parallels the demise of the French coal industry itself, which has left former employees lingering like wraiths.
Domain and Range uses the accidental death of a lizard in a French vinyard as a means of exploring the notion of predestination, the relationship between art and deterministic belief systems and inter-generational conflict. Reference is also made to the massacre of the Huguenot Protestants in the 16th century which triggered the first wave of mass immigration to Britain and which echoes current-day issues concerning religious tolerance (or the lack thereof).