Invisible Hand, the Great Book of ...
series of works: Chapter 2, Fig. 1: Prototype of visual optimisation, Chapter 3, Fig. 3: White balance mechanism, Chapter 3, Figs. 6–11: First sketches on Capitalist Realism, Chapter 5, Fig. 8: History of the coloured people (excerpt), Back matter 2016/2025. Exhibition views: HKM, Berlin, GMK, Zagreb
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»Invisible Hand, The Great Book of...« unearths and exposes forgotten and forgettable images of labour through a series of digital excavations and transformations.
Installative arrangements hint at the presence of algorithmic and mechanical machines distributing visibility through selective reproduction and explicit deletion. The exhibition thus points to the deleted 'other' of contemporary and historical practices of constructing the visible. Continuous reaccentuation of the Deleted produces the eerie effect of a mundane transgression, of witnessing the representation of the unrepresented. Suffused with speculation and commentary, technical drawings and architectural models invite viewers' eyes to rest within the comforting space of invention, marked by oversight and omission. The 18th century plantation Monticello is resurrected within the digital realm, hinting at the dubious possibility of a historical continuity of a war on the perceptibility of labour. Digital network technology enters into a material communion with vintage service carts and financial signifiers. These juxtapositions of historical and digital materials seduce and irritate the beholder, until contemporary practices of seeing and unseeing emerge in their historical specificity. Under the newly sceptical gaze, existing visual regiments are destabilized, offering a glimpse at the possibility of alternative systems of distributing and reassembling the visible.
Installative arrangements hint at the presence of algorithmic and mechanical machines distributing visibility through selective reproduction and explicit deletion. The exhibition thus points to the deleted 'other' of contemporary and historical practices of constructing the visible. Continuous reaccentuation of the Deleted produces the eerie effect of a mundane transgression, of witnessing the representation of the unrepresented. Suffused with speculation and commentary, technical drawings and architectural models invite viewers' eyes to rest within the comforting space of invention, marked by oversight and omission. The 18th century plantation Monticello is resurrected within the digital realm, hinting at the dubious possibility of a historical continuity of a war on the perceptibility of labour. Digital network technology enters into a material communion with vintage service carts and financial signifiers. These juxtapositions of historical and digital materials seduce and irritate the beholder, until contemporary practices of seeing and unseeing emerge in their historical specificity. Under the newly sceptical gaze, existing visual regiments are destabilized, offering a glimpse at the possibility of alternative systems of distributing and reassembling the visible.
White balance mechanism
serving cart, 2-dollar note, plasticin, Californian red wine, Ethernet-cables, cable-pulleys and video loop "Prototype of visual optimisation":
2016
2016
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History of the coloured people (excerpt)
fake fingernails, plastiform, artist-book
2016
2016
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First Sketches on Capitalist Realism
ink on paper
2016
2016
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Backmatter
glove, spray paint, shell of a computer mouse
2016
2016
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