Fast forward to 2012, and what we had absorbed from our mediated surroundings last year has since diverged into complexities and the unresolved oblivions of now. With the omnipresence of 2011 persisting, a perspective is called with which to draw its ghosts to the here and now.
It was at the scratch of last year, with events like the Arab Spring, the Japanese triple disaster and Wikileaks, when artists were first contacted by Nine Yamamoto-Masson and Mirak Jamal to propose pieces in an environment of formidable media dynamics. Debuting a year later, a selection of these predominantly new works is placed in their specific connectedness to the framework; a problematic of exposing/reflecting/documenting a year, or a particular event. As such, the exhibition allows for a media-to-artwork asynchronism that raises the question of how to delegate an event.
20111111111111111s is pronounced “two thousand elevens”. It is an exhibition platform set in theme to the year 2011, and inspired by its many towering events and untold accounts captured through a complex of perspectives. The cacophony that dominated the headlines of last year was transmitted through the many channels of mainstream media and social networks. Within the constraint of a unified space and as a counterpoint to the lifespan of a news story, the assemblage of works in the exhibition aim to trigger responses that communicate tangible and virtual experiences, immediate or distant realities of that year. 2011 will thereto be mirrored in fragments, where the gaze of the inceptor (the artist) is carried out in condensation towards object-pieces and media works. Artworks then function as mementos that trigger points of (re-)discovery in which to connect a bygone time to our mendable present.