SYNTHETIC GUILT
EXHIBITION/2021
Ⓒsimon
At this exhibition we can notice the faceless subject, the flow and the loop. Fragility and eternity between what’s light and invisible as the air, and what’s invincible as the weight and its tension
with the gravity.
Some foam is synthesised to soak up water, therefore it’s definitely a bad buoyant material, but it hinders minor shocks and absorbs sounds.
In relation to that, guilt arises as both symptom and instigator. As it is synthesized to play a vital rule in culture production to induce the salvation heroic narrative but as it isn’t as stimulant as power, it is therefore used only as upholstery for culture chairs, a padding, with no significant intervention in the subject production but acts as a silent passive component of symbolic,
prestigious and unreliable superficial mode of work.
As a matter of performance, there would be many works that moves as machines, various sounds too, in a theatrical atmosphere similar to an amusement park, where things turn in loops for once and eternity.
The absence of a figure has been a recurring gesture since the beginning of my artistic practice, the cutout body in itself is a trace for its existence and its visibility while it’s unclear image,
distorted or undefined. While receiving art, cinema or literature, I, the subject would emerge as another body but what if this other body that my mind has created in relation to these immaterial
content has been withdrawn, slightly detached, both seen and unseen, multiple and indeterminate.
Does the machine of culture requires guilt as negative current and power as positive current? And thus in this endless loop of art and culture with these two currents, does this propose by any
mean a change in any sort? It is suggested to look at the often found objects of the exhibition as literally as it gets, when it
comes to its materiality and its functions because there it lies what is it to be considered as the logic or the vocabulary of the work.
with the gravity.
Some foam is synthesised to soak up water, therefore it’s definitely a bad buoyant material, but it hinders minor shocks and absorbs sounds.
In relation to that, guilt arises as both symptom and instigator. As it is synthesized to play a vital rule in culture production to induce the salvation heroic narrative but as it isn’t as stimulant as power, it is therefore used only as upholstery for culture chairs, a padding, with no significant intervention in the subject production but acts as a silent passive component of symbolic,
prestigious and unreliable superficial mode of work.
As a matter of performance, there would be many works that moves as machines, various sounds too, in a theatrical atmosphere similar to an amusement park, where things turn in loops for once and eternity.
The absence of a figure has been a recurring gesture since the beginning of my artistic practice, the cutout body in itself is a trace for its existence and its visibility while it’s unclear image,
distorted or undefined. While receiving art, cinema or literature, I, the subject would emerge as another body but what if this other body that my mind has created in relation to these immaterial
content has been withdrawn, slightly detached, both seen and unseen, multiple and indeterminate.
Does the machine of culture requires guilt as negative current and power as positive current? And thus in this endless loop of art and culture with these two currents, does this propose by any
mean a change in any sort? It is suggested to look at the often found objects of the exhibition as literally as it gets, when it
comes to its materiality and its functions because there it lies what is it to be considered as the logic or the vocabulary of the work.