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New York

bitforms gallery

Exhibition Detail
Vanishing Point
Curated by: A. E. Benenson
529 W. 20th St., 2nd Floor
(between 10th and 11th)
New York, NY 10011


May 30th, 2013 - July 19th, 2013
Opening: 
May 30th, 2013 6:00 PM - 8:00 PM
 
SETI, Elaine ReichekElaine Reichek, SETI,
2004, hand embroidery on linen, 40 x 57 in. / 101.6 x 144.8 cm
© the artist and bitforms gallery nyc
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Tue - Sat 11-6
TAGS:  
new media, mixed-media, digital, installation
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Curatorial Statement by A.E. Benenson:

At the birth of modern computing, a paradox: only after Alan Turing theorizes an infinitely large computer do we begin to plausibly imagine how our world could be digitally remade as small as possible. That is, it’s only after Turing fixed our technological gaze outwards onto infinity that we began our relentless dwindling inwards, towards miniaturized circuits and virtualization. Taking this contradictory movement as both its content and form, the exhibition Vanishing Point presents views of a contemporary digital vastness that is both boundless and barely there.

By understanding computing as an ongoing experiment in the incommensurate, the artists in this exhibition draw the discipline of computing into various unlikely associations: outer-space, the afterlife, Abstract Expressionism, Greek Tragedy. And yet at the same time, there is a move to deconstruct the traditional aesthetic associations with the infinite (e.g. "the sublime") in terms of a contemporary virtual sprawl that is often pathetically insignificant, banal and quotidian. These analytical impulses are tempered with modes of address that are more lyrical, less direct; formal experiments within the contradictions of a new vastness that is simultaneously too large and too small to be fully apprehended.

Here, “vanishing point” refers not only to the infinitely distant and small destination where everything rushes to converge, but also to a potential moment of disappearance – an event horizon where technology swallows something once and for all…what exactly – irrationality, expressivity, scarcity, suffering? Nothing in this exhibition claims to know with certainty. The objective is not to make predictions, but to press ourselves a little closer to the arc that bends towards the limit.


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