黑料不打烊

It鈥檚 an exhibition of emergence at different speeds. Freud used the figure of Anadyomene to describe the way the unconscious moves鈥搒omething coming to the surface of the water. Rimbaud鈥檚 Anadyomene was stranger鈥� a corpse described as a landscape; more strata than bone. It鈥檚 almost like something begins to mirror and reflect its surroundings as it reaches the surface鈥揳 diver鈥檚 bends of adjacency and accumulation.

Deleuze might say that irroring is a virtual experience, akin to the images of memory. Proust defined memory as virtual, as 鈥渞eal but not actual, ideal but not abstract.鈥� This virtual material is a language of mimetoliths and Messianic toast; of Jon Lovitz鈥� voice coming out of an animated radio that brings levity to commodities being phased out and forgotten. (Remember how horrible the junkyard was?) Material is meaning, and objects form the apse to the moments and desires between us. These are the things we pass back and forth while we talk, that we see ourselves in, that sing in entangled symphonics back to us.

How can we access what is just below the surface, this virtual experience in material? That is where the strange Eleuthera of karst resides, peeled back by waves; a loop within each material that exposes its uncertainty. Process and weird subjectivity are the passwords spoken to open up copper, concrete, steel, and glass to slow it to absolute zero鈥搕o make it drag, to make it form a coil within itself, in hopes of making the material do something unintended. It is also a frozen inbetween, a collision, the way a car wrapped around a pole traps space within itself鈥揷loses its own loop between two worlds鈥揳n endlessly mirrored unfolding. Something unexpected gets trapped in the narrowing passage of the alembic. Not everything in this space is anthropomorphic, but it can be. Not everything is a history of a material, a tracing of its dream, but it's a material that digs in and desires things outside of human wants鈥揳utotelic and expressive and wanting.

Duchamp understood this forever ago. When Breton asked him to design an exhibition for the Surrealists, he chose to place the work in the dark and give everyone flashlights. Later, when asked to restage it, he connected everything by string. He understood that this is and always has been about a languaging through material. It鈥檚 a material trapeze connecting us, and the answers that are formed when we bump into each other in the dark, listening for the dreams of rocks.