Galerie Steinek is pleased to announce Lapsed Cinematic, a group exhibition of work by Erik Aalto, Martin Murphy and J.D. Walsh, curated by Tony Oursler.
These three artists, while unique in their endeavor to find new meaning in the syntax of installation and moving image are at the forefront of both art and cinema in this „Lapsed Cinematic“ moment. A characteristic that seems to separate them, is their insistence on putting the viewer at the center of the experience. Informed by the hollow promise of blockbuster film, as well as real promise of philosophical and psychological inter-subjectivity, as expounded upon in Lacans theories of “The Gaze“ and Piaget´s theory of “Object Permanence“. The artists are comfortable navigating this subjective hall off mirrors, created by the viewer´s projected desires. These artists are willing to validate this aspect of human nature, thus mining a new paradigm for the moving image.
"A characteristic that seems to separate them, is their insistence on putting the viewer at the center of the experience."
J.D. Walsh has done a projection onto a suspended oval screen titled “Dramatization Disc“. The floating screen captures a “synaesthetic system between the sound and the image“, consisting of a record player, speaker cone and a symbol struck rhythmically, which is overlaid with gestural painting and a raucous synthesizer score, seemingly triggered by the motions of the brush. All of this seems to organically chart some sort of brainwave or creative activity. There is a vortex of meaning in this winding, maelstrom of movement. But something is wrong. This is not an EKG that we´re watching, although it has the similar precision and a mesmerizing quality. As Walsh puts it, he is “tuning meaning“ through his dexterous editing and collapsing of visuals, gesture and sound.
Martin Murphy´s work is a three-part dissection of a violent and bloody crash sequence. Murphy is concerned with culturally shared memory and epistemological perceptions of time, exemplified in this work in which one moment of an automobile accident is extruded into an endless moment. Murphy uses hyper clear HD to depict the bleeding face of a driver stuck in the moment of trauma, unable to escape. Hovering in a void of anticipation and fate, the signals are confused. As we look at the bleeding face of the victim, she hovers between terror and ecstasy. If we listen carefully, the monologue is delivered: “It doesn't make sense, I haven't been here for years and I always get lost. Don't be mad at me“, refracting between the three points of view. The audience positions themselves in different temporal moments and perspectives. It becomes part of the moment of impact.
Erik Aalto invites the viewer to enter his cryptic, yet pop-cultural schematic installation. This project traces the interaction between three characters embodied in the abstract forms of a pyramid, circle and square (A carpenter, Smurf and animal). Aalto moves freely between idioms, incorporating beautifully carved sculptures, animations, performances and original music scores. The world-view he proposes is informed as much by data as it is rock videos, and hyper-links occultism, Utopian politics and socially-imposed dichotomies of reality. He leavens his ideas with humor and if you are as welcome to play in his game-like structure, as he puts it, the „Pyramid “ - or Carpenter - is like an alchemist, concerned with creativity, the „Circle“ - or Smurf - is an energy source for the Pyramids achievements. The „Square“ - or Animal - is not interested in progress at all, but is pleased to look at how things work.
Tony Oursler (*1957 in New York) lebt und arbeitet in New York.