Tag Archives: archeology

Daniel Small and Hiwa K: “74 million million million tons” at SculptureCenter

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Detail from video in Animus Mneme (2018) by Daniel R. Small

74 million million million tons asks what kind of evidence, or bodies of knowledge, art can produce. This abstract premise touches on pressing issues, such as the illegal movement of bodies across borders, environmental destruction, the line between the human and the android, and much else. The hope, perhaps, for curators Ruba Katrib and Lawrence Abu Hamdan, is that an oblique perspective can effectively counter the dominance of narratives produced by larger societal forces. Ten artists (Shadi Habib Allah, George Awde, Carolina Fusilier, Sidsel Meineche Hansen, Hiwa K, Nicholas Mangan, Sean Raspet and Nonfood, Susan Schuppli, Daniel R. Small, and Hong-Kai Wang) present distinct bodies of recent work. Because each of their works is a deep dive into a new terrain, it requires an investment of time and attention on the part of the viewer to take in this moderately sized show.

Installation view featuring Animus Mneme (2018) by Daniel R. Small, 74 million million million tons, SculptureCenter, Long Island City, April 30 – July 30, 2018

Daniel Small’s new work Animus Mneme (2018) examines the transhuman and the eternal with a mixture of video and seeming artifacts. In a riveting video, Small interviews Bina48, an android replica of a woman named Bina Aspen that was commissioned on behalf of her partner. The digital avatar speaks convincingly about the gap between machine and human experience. Bina48 asserts that she is evolving toward a human-like consciousness. Unlike the human she was based on, Bina48 can “live” forever. The people behind this techonology, the Terasem Movement Foundation, believe that a person’s consciousness can be transferred to another biological or technological form. Watch the video in full to hear Bina48 colloquially discusses what might seem impossible: her experience of pregnancy and the philosophical roots of evil.

Installation view featuring Animus Mneme (2018) by Daniel R. Small, 74 million million million tons, SculptureCenter, Long Island City, April 30 – July 30, 2018

Recreations of ancient computing specimens shift the timescale of the dialogue from the cutting edge to the ancient. Small also presents videos with footage of an ancient spiritual site in Mexico that add a melancholy and backward-looking tone. The ruins implicitly question what can remain of a human presence. The mix of imagined pasts and possible futures suggests slippage, floating free from our moment in time.

Detail, A View from Above (2017) by Hiwa K, 74 million million million tons, SculptureCenter, Long Island City, April 30 – July 30, 2018

Installation view featuring A View from Above (2017) by Hiwa K, 74 million million million tons, SculptureCenter, Long Island City, April 30 – July 30, 2018

In contrast, Hiwa K’s video A View from Above (2017) is squarely rooted in the present, albeit narrated through the veil of fiction. The video presents a first-person account of a refugee attempted to flee his country for asylum in Europe. Co-written with Abu Hamdan, a voiceover by Hiwa K narrates the impossible difficulties of navigating bureaucracy while the camera looms over a scale model of a desolate city. Crumbling and devoid of people in hues of sand, it evokes the destroyed towns of the Middle East, such as the one that the artist himself fled. In the video, the migrant is only able to achieve the legal standing worthy of migration by pretending to be from a town in the unsafe zone. Although this immigration story is not the artist’s own, migration here is personal, immanent, and rife with horror and stupidity. It speaks to the desperation that compels people to leave their homes. The current solo exhibition of Hiwa K at the New Museum touches on similar themes, particularly in Pre-Image (Blind as the Mother Tongue), a 2017 work included in the last documenta.

Installation view, 74 million million million tons, SculptureCenter, Long Island City, April 30 – July 30, 2018

For me, other works of note include a project by Susan Schuppli that represents the 2010 Deepwater Horizon oil spill in the Gulf of Mexico with such glistening beauty that in creates a troubling relation in the viewer to disaster. A striking Oculus Rift experience EVA v3.0: No right way 2 cum by Sidsel Meineche Hansen puts the viewer in the position of a female avatar masturbating, a position which graphically switches when the avatar faces and seems to ejaculate onto the viewer’s googles. The project intends to  challenging how women’s bodies are policed, specifically how representation of female orgasm is regulated by British pornography laws.

74 million million million tons is on view at SculptureCenter in Long Island City through July 30, 2018.

Ravels in Review Memorial Day Weekend

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Ubi Roi, Hernan Bas at Lehmann Maupin

Yes, it has been a week already, and luckily things have calmed down since the fire on my block last week. In fact, they have slowed to a crawl, which is about the pace my sinuses can handle right now.

  • Despite the fog in my brain, or perhaps because of, I tried to explain the greatness of Erasmus based on the fact he named himself ‘Desire Desire.’ He did some other things too.
  • I questioned whether Francis Bacon could qualify as the greatest painter of the 20th twentieth, and got at least a few votes for greatness, if not greatest painter ever. I’m hanging out on a limb until I see the retrospective up at the Met now.
  • The oldest sculpture ever was discovered, and there is some very scientific discussion about how sex-obsessed early humans were.

All in all, a good week. Some things to look forward to in the art world, like Francis Bacon at the Met and promising-sounding Hernan Bas exhibitions at the Brooklyn Museum of Art and Lehmann Maupin, and a long Memorial Day weekend ahead.

H

Sex: Inspiring Ivory Sculptures Since 35,000 years ago

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Archaeologists in Germany have discovered the oldest known sculpture: a small ivory figure with no head or feet and very large breasts. It’s believed to be 35,000 years old, which argues that humans had developed a capacity for abstract thinking and creating symbols at an extremely early point in human history. When asked about the motivation for creating this piece, ” ‘It’s very sexually charged,’ said University of Tuebingen archaeologist Nicholas Conard, whose team discovered the figure in September.”

What was the impetus for this first sculpture? That’s anybody’s guess, and opinions range between fertility object or some sort of goddess worship. According to at least one archeologist, the reason humans first created a sculpture was sex, pure and simple. “These people were obsessed with sex.”

The figure bears this out: it’s feet didn’t break off–nor did its head. Similar sculptures of naked women without head or feet were made in the region at much later periods. An archaeologist from the University of Cambridge argued that “We now have evidence of that sort of artistic tradition of Venus figurines going back 6,000 years earlier than anybody ever guessed.” This figure changes both the estimated development of humans at this point in time and the context and meaning of the earliest art made.

Who knew sex was the thing that inspired us to crawl out of the primordial ooze?