Rey Akdogan
Julia Haller
Anita Leisz
John Henderson
Michael Part
Mandla Reuter
Jason Simon
Mark Dion
Pieter Vermeersch
Max Henry
Group show. Digitization has made analog photography and celluloid film the new obsolescent "painting". All three traditional mediums relyon chemical processes and metallurgical binding to leave an imprint now culminated by the inkjet printer, software applications, and the blinking screen.
Rey Akdogan, Julia Haller / Anita Leisz, John Henderson, Michael Part, Mandla Reuter, Jason Simon / Mark Dion, Pieter Vermeersch
curated by Max Henry
The exhibition
green postcard
con siders th e ep on ymous J
ohn Baldessari short film (1971) as a
meme painting in today’s era of the meme. Its ramifications are felt in the today’s cult of digital
gamesmanship where image is manipulatively used to affect perception. Early photography’s
conjuring of the representational through a glass plate and chemical emulsion spelled the doom of
painting.
Dig itiza tion h a s ma de a n a log p h otog ra p h y a n d celluloid film th e n ew obsolescen t
“p a in tin g ”. A ll th ree tra dition a l mediums rely on ch emica l p rocesses a n d meta llurg ica l bin din g
to lea ve
an imprint now culminated by the inkjet printer, software applications, and the blinking screen.
Now it happened that in this drawer was a box containing some unexposed photographic plates and
th e a mp oule of ura n ium bisulp h a te fell rig h t on top
of the box remaining there undisturbed for
several weeks.
But when he developed his photographs he found that the plates were badly spoiled as if they had
been previously exposed to light. This was very strange, since the plates had been carefully wrappe
d
in thick black paper and yet
never opened.
Turning over the ampoule in his hand is it possible he thought that this substance spontaneous and
without any previous excitation, emits some invisible, highly penetrating radiation that can pass
without diff
iculty through the cover of the box and black paper and effect the photographic
emulsion?
To answer his question he repeated the experiment with some new plates and placed an iron key
between the photographic plate and the ampoule.
A few days later his
h a n ds were sh a kin g with excitemen t a s un der th e red la mp of th e p h otog ra p h ic
da rkroom, a dif f use silh ouette of th e key beg a n to slowly a p p ea r a g a in st th e da rken in g ba ckg roun d of
th e n eg a tive.
For more information or images, please contact Chelsea Zaharczuk t: +44 (0)207 9987902 chelsea@ibidprojects.com
Ibid. London
27 Margaret Street London W1W 8RY, UK
open Tuesday - Friday 11 - 6pm
Saturday noon - 6pm