calendario eventi  :: 

X

3/12/2012

Justin Lieberman

The M Building, Miami

Now I am fixing to head to my studio, to build my ideal viewer from broken cameras shipped to me from the former soviet union. I hope she be line a body in this way: that she will occupy a liminal space between the (w)hole and the fragmented body, the assemblage and the void. Thus she will be abody in the process of becoming.
I hope she will be like the pupil of an eye in this respect: As light decreases, the pupil expands, andas the pupil expands it’s perceptive ability extends further in space. So let the ideal viewer then bea pupil in total blackness, expanded into a sphere that envelops the body which possesses it and seeing infinitely in all directions. ANow I am fixing to head to my studio, to build my ideal viewer from broken cameras shipped to me from the former soviet union. I hope she will occupy a liminal space between the hole and the fragmented body, the assemblage and the void. I hope she will be like the pupil of an eye in this respect: As light decreases, the pupil expands, and as the pupil expands it’s perceptive ability extends further in space. So let the ideal viewer then be a pupil in total blackness, expanded into a sphere that envelops the body which possesses it and seeing infinitely in all direc- tions. An all seeing black sphere in an opaque Void where nothing is illuminated. Thus, an all-seeing black sphere of maximum density in an opaque Void where nothing is illuminated.

And finally, a relevant quote from Carl Andre :
«A Thing is a hole in a thing it is not.»

Justin Lieberman

Revolving around notions of distribution of information, and its organization into archives, Justin Lieberman’s exhibition cultivates an enjoyment of self-imposed constraints and systems. The center sculpture—a cross between a card catalog and a spomenik—houses the artist’s archive, or rather one of many possible archives. Like any archive, it was gathered at a specific moment in time and for a specific purpose. Thus it reflects the distinct conditions of its formation, which escape imme- diate representation, but are always implicitely present. The aura of the archive, rooted in a per- ceived objective historical value, is re-subjectivized here by a system of classification that remains largely opaque, conflating the documentation of the artist’s process with the process itself. Posited as an artwork—purposeless by definition—Lieberman’s archive stages its own failure. Throughout the exhibition, the artist’s source material—an accumulation of written notes, to-do lists, old love letters, unpaid invoices—appears in different forms: as collage, as artist book, as stuff to be fit into a drawer. In this spirit, versions of the hand-made books kept in the sculpture’s drawers are also dis- played on the walls, their respective presentation contexts suggesting a variation in their conceptual objectives.
Anthropomorphic sculptures made from broken cameras act as the artist’s ideal viewers, silently observing the installation and looking back at the audience. When photographed (as is the implicit ambition of all art works and exhibitions), Lieberman’s viewers complete and extend the paradigm of modernist self-reflexivity.

She is like the pupil of an eye: as light decreases, the pupil expands, and as the pupil expands, its perceptive ability extends outward in space. Imagine then the ideal viewer: a pupil in total blac- kness, expanded into a ball enveloping the body and seeing infinitely in all directions. Thus, an all-seeing black sphere of maximum density in an opaque void where nothing is illuminated. (JL)

OPENING: TUESDAY 04.12.2012 FROM 18:00 > 00:00

The M Building
194 NW 30th Stree - MIAMI, FL 33127

stampa

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