Antoine Catala

HUMAN+ @ CCCB, Oct 7 – Apr 10

6 October 2015

The Centre de Cultura Contemporania de Barcelona is opening a new exhibition this week, titled HUMAN+: The future of our species and running from October 7, 2015 to April 10, 2016.

The exhibition explores “potential future trajectories of our species”, considering both the historical and emerging technologies as well as their ethical and culture contexts. Knowing that our lives are determined, in a sense, by the state and transience of technological tools and scientific discoveries, HUMAN+ presents a range of imagined and real possibilities. 

First presented at Science Gallery Dublin in 2011, HUMAN+ now re-emerges as a co-production between CCCB and Science Gallery, complete with a slew of additional works as well as a full event series and new catalogue.

See the exhibition page for details. **

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Co-Workers: Beyond Disaster @ Bétonsalon, Oct 7 – Jan 30

6 October 2015

A new group project titled Co-Workers: Beyond Disaster opens this week, running at Paris’ Bétonsalon from October 7, 2015 to January 30, 2016.

The Bétonsalon centre for art and research, integrated into the site of the University Paris 7, opens a new show curated by Mélanie Bouteloup and Garance Malivel that “puts forth the speculative powers of storytelling and science fiction to rethink the ways we inhabit our environment” through collaboration between different fields and formats.

Participating in the exhibition are 17 different artists, including Antoine Catala, Ian Cheng, Nobuko Tsuchiya, Pamela Rosenkranz and Wu Tsang

See the exhibition page for details. **

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Phantom Limbs (2014) @ Pilar Corrias exhibition photos

18 August 2014

Named after the neurological phenomenon of a body part, even organ, that’s missing or amputated but still felt in its absence, the Phantom Limbs group exhibition expressed a dearth in its abundance. Running at London’ s Pilar Corrias between June 27 and August 1, eight artists exploring “notions of consciousness” within a digitally mediated existence were presented across its two floors.

Ken Okiishi‘s ‘E.lliotT.: Children of the New Age’ (2004) presented a surreal look into a mediated suburban dead end via amateur aesthetics and the disembodied mumblings of its performers, featured in its own white box display just across from Charlotte Prodger‘s ‘Compression Fern Face (2014)’ installation. A Sony reference monitor displayed a 3D animation filtering human experience through found texts in the latter artist’s work, YouTube clips, 16mm film and spoken narratives presented as “two coded abstract symbols move in tension with each other” on the screens white, framed background.

Philippe Parreno‘s ‘Happy Ending, Stockholm, Paris, 1996, 1997’ (2014), one of ten transparent glass scultpures, stands near the gallery reception, as easily overlooked as when an earlier incarnation of the work mysteriously disappeared from a 1996 solo exhibition. Antoine Catala‘s ‘: )’ (2014) and ‘(::( )::) (bandaid)’ (2014) are emoticons made material and moving on a motor on the floor beneath ‘Storage’ (2014) – an image of a fridge with an impress of pot and pan in it – while Ian Cheng‘s live computer simulations, stood in a corner across, present basic algorithms acting as “DNA that seeds the generation of endless, mutating sequences of behaviours between objects and characters”.

Films by Rachel Rose and Cécile B. Evans, ‘Palisades in Palisades’ (2014) and ‘The Brightness’ (2013) appear in the darkened downstairs. The former is a 3D monitor featuring choreographed, rootless teeth and an interview with a Phantom Limb specialist, also called Cécile B. Evans, her speech consciously and self-reflexively out of sync with the movement of her mouth. The latter uses scripted, documentary and post-production processes to explore the major consequences of “images and data overflowing from the flat surfaces of the screen” across historical timelines, while Alisa Baremboym‘s ‘Leakage Industries: Clear Conduit’ (2012) – a sculptural construction of organic and synthesised materials converged and suspended from the ceiling – flows top-down but is constrained by its context as the materials list describes its product as “dimensions variable”.

From here, other works by the same artists intersperse the two floors across media, including the sculptural incarnation of the CGI of Evans’ ‘The Brigthness’ in ‘Lost, Teeth’ (2014) and Okiishi’s ‘Holding my arm/phone above the visual barrier to see it becoming a cyborg’ (2013 – 2014) inkjet print wallpaper confusing notions of space, materiality and authorship. Together they reveal a chilling examination of a language and experience in perpetual, ungraspable, motion. **

Exhibition photos, top-right.

Rachel Rose, ‘Palisades in Palisades'(2014) (excerpt) 

Phantom Limbs group exhibition ran at London’s Pilar Corrias from June 27 to August 1, 2014.

Header image: Phantom Limbs (2014) @ Pilar Corrias exhibition view. Courtesy the gallery.

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