Clipping the Din (1)

Krinzinger Projekte
curated by Daniel Baumann, Kathrin Bentele, Matthew Hanson


In 1987, and according to American artist Gretchen Bender, it took no more than ten minutes for an image to become neutralised and fed into an all-consuming flow of data – a “cannibalistic river” (2). Some 30 years later, that lag has contracted to a point of near simultaneity. Clipping the Din bridges two generations of artists who examine power as it is exercised through the mediated, neutralised and overproduced image.

In the 1980s, technological innovations in video and television enabled home editing, tape recording, projecting and local network broadcasting. Many artists – some using DIY strategies, others working in commercial production studios – were given to mimicking media to subvert dominant discourses. The appeal: watching the “détourned” image reenter the stream.

Today, the instantaneous absorption of meaning into content renders modes of détournement, mimicry, mirroring and acceleration inherently anticipated. The truant image inevitably feeds back into the very structure it criticises; racialised and gendered overproductions of representation amass to a point of nonvisibility; signification gives way to ambivalence.

The artworks in this exhibition redirect the noise of this feedback, non-visibility, and ambivalence. Some operate surreptitiously – in the guise of dominant media – others more candidly. If there is a shared methodology here, it is in they way these works isolate, suspend and recontextualise not only images, text and sound, but the networks of value, desire, exchange and representation through which those materials perform.

Laut der amerikanischen Künstlerin Gretchen Bender dauerte es 1987 nicht länger als zehn Minuten, bis sich ein Bild neutralisierte und in einem alles verschlingenden Datenfluss verschwand – in einem, wie sie damals sagte, „cannibalistic river“ (2). 30 Jahre später ist diese Verzögerung einer Gleichzeitigkeit gewichen und aus zehn Minuten sind zehn Sekunden geworden. Clipping the Din verbindet zwei Generationen von Künstler*innen, deren Arbeiten in diesen Bilderfluss eingreifen, um sich der Macht des mediatisierten, neutrali-sierten und überproduzierten Bildes zu stellen.

Die technologischen Innovationen der 1980er Jahre in Video und Fernsehen ermöglichten es, mit einfach zugänglichen Aufnahme- und Schnitttechniken, Projektionen und lokalen Netzwerken zu experimentieren. Viele Künstler*innen adaptierten diese Produktions- und Distributionsstrategien, um vorherrschende mediale Diskurse zu unterwandern. Der Anreiz war zuzusehen, wie das „umgeleitete“ Bild wieder in Umlauf gelangte.

Heute wird jede Form von Bedeutung unmittelbar als marktfähiger Inhalt absorbiert. Strategien wie Détournement, Mimikry, Spiegelung und Beschleunigung scheinen im-mer bereits vorweggenommen. Das Bild wird unweigerlich und sogleich an die Struktur, die es versucht zu kritisieren, rückgekoppelt. Überproduktion ist an einem Punkt angelangt, an dem Repräsentation, auch rassen- und geschlechtsspezifische Repräsentation, sich in Nicht-Sichtbarkeit zu verlieren scheinen: Signifikation weicht Ambivalenz.

Die Arbeiten in dieser Ausstellung re-adressieren den Lärm dieses Feedbacks, dieser Nicht-Sichtbarkeit und Ambivalenz. Einige agieren heimlich unter dem Deckmantel dominanter Medien, andere direkter und offener. Falls es eine geteilte Methodik gibt, dann liegt diese in der Weise, wie die Arbeiten nicht nur Bilder, Texte und Sound isolieren, aufheben und re-kontextualisieren, sondern auch die Netzwerke von Wertzuschreibung, Begehren und Repräsentation, durch welche diese Materialien zirkulieren.


Daniel Baumann, Kathrin Bentele and Matthew Hanson

(1 ) “Clipping”, a term derived from sound production, describes a type of digital distortion that occurs when signals are overdriven beyond amplification(2) Gretchen Bender by Cindy Sherman, Bomb Magazine, January 1987
 
Cover: I Want Some Insecticide 1986 (Detail), Branda Miller, Single-channel, B&W and colour video, sound, 3:53 min, Video still courtesy of Branda Miller and Electronic Arts Intermix (EAI), New York

Artists
Dara Birnbaum, *1946 in New York, lives and works in New York City, US
Gretchen Bender, *1951 in Seaford, Delawarwe, US, died 2004 in New York City, US
Tony Cokes, *1956 in Richmond, Virginia, lives and works in Rhode Island, US
Carolyn Lazard, * 1987 in California, lives and works in Philadelphia, US
Branda Miller, *1952, lives and work in Upstate New York, US
Georgie Nettell, *1984 in Bedford, lives and works in London, UK
Richard Sides, *1985 in Rotherham, UK, lives and works in Berlin, DE and London, UK

Like a Pig in Shit 2019 (Detail) Richard Sides  Single-channel colour video, sound, 18:49 min Courtesy of Richard Sides and Carlos Ishikawa, London

Like a Pig in Shit 2019 (Detail)
Richard Sides

Single-channel colour video, sound, 18:49 min Courtesy of Richard Sides and Carlos Ishikawa, London

Remy/Grand Central: Trains and Boats and Planes 1980  Dara Birnbaum  Single-channel colour video, sound, 4:18 min Video still courtesy of Dara Birnbaum and Electronic Arts Intermix (EAI), New York

Remy/Grand Central: Trains and Boats and Planes 1980
Dara Birnbaum

Single-channel colour video, sound, 4:18 min
Video still courtesy of Dara Birnbaum and Electronic Arts Intermix (EAI), New York

Like a Pig in Shit 2019 (Detail) Richard Sides  Single-channel colour video, sound, 18:49 min  Courtesy of Richard Sides and Carlos Ishikawa, London

Like a Pig in Shit 2019 (Detail)
Richard Sides
Single-channel colour video, sound, 18:49 min
Courtesy of Richard Sides and Carlos Ishikawa, London

Branda_Miller_Insecticide_EAI-2-300dpi.jpg
I Want Some Insecticide 1986 Branda Miller  Single-channel, B&W and colour video, sound, 3:53 min Video still courtesy of Branda Miller and Electronic Arts Intermix (EAI), New York

I Want Some Insecticide 1986
Branda Miller

Single-channel, B&W and colour video, sound, 3:53 min Video still courtesy of Branda Miller and Electronic Arts Intermix (EAI), New York

What Other People Think 2017 Georgie Nettell  Océ ColourWave print, aluminium frame, 118.9 x 84.1 cm  Courtesy of Georgie Nettell and Lars Friedrich, Berlin

What Other People Think 2017
Georgie Nettell

Océ ColourWave print, aluminium frame, 118.9 x 84.1 cm
Courtesy of Georgie Nettell and Lars Friedrich, Berlin

Ad Vice 1999 Tony Cokes  Single-channel colour video, sound, 6:36 min Video still courtesy of Tony Cokes; Greene Naftali, New York; Electronic Arts Intermix (EAI), New York

Ad Vice 1999
Tony Cokes

Single-channel colour video, sound, 6:36 min
Video still courtesy of Tony Cokes; Greene Naftali, New York; Electronic Arts Intermix (EAI), New York

Bio
Matthew Hanson is a Zurich-based curator from New Zealand. Recent projects have involved artists, composers and poets including CAConrad, Lol Beslutning, Sitara Abuzar Ghaznawi and Deborah Holman. Previous exhibitions include The Buttocks of a Steelmill, Zürich, 2016; i) duplex cling mob, Michael Lett Gallery, Auckland, 2015 and Home is Where One Starts From, Yuill Crowley, Sydney, 2013. With Kathrin Bentele, he runs a series of artist lectures, film screenings and poetry readings at Kunsthalle Zürich; artists have included Leslie Thornton, Rosa Aiello, Tony Cokes, Branda Miller, Dara Birnbaum, and Erik & Harald Thys.