Titled in reference to Allan Kaprow’s Eighteen Happenings in Six Parts this installation operates around a series of actions undertaken as mathematical sets that involve bouncing a ball, drinking glasses of water and pumping up tyres. These actions are not undertaken as performance but rather a method of the installation.
The work is part of ongoing research towards articulation a digital method within sculptural practice. It attempts to address this both in terms of the method of production but also the structural method through which the audience in engage in the work. It seems necessary to resolve the work in both terms if this research is to claim anything other than procedural methods. The content displayed on the LED screen is scrolling data coordinates of the right hand tracked while undertaking the actions by the Kinect.. These seeming meaningless numbers like the tennis balls and inner tubes and image of the hand are taken as structural forms rather than representational or associative content. As units in a more formal/mathematical way; a ball is a point, a tube is a hole, a pump is a line …
The work operates across two physical locations the primary point in entry being the installation at Mila Kunst Gallery. Here (see below) a simple scrolling LED sign points or ‘forwards’ the viewer to a more substantial secondary site a few blocks away. The intention here is that the viewer enacts the analogue space between the sites while only fully conceiving of the work at each discrete (digital) location. This strategy extends the logic of the critical exposition discussed in Exploded Diagrams and Faulty Parts.
|32 Bit Catch 16 Bit Pump 8 Bit Transfer|