centres of indetermination

As the world ostensibly detaches from itself – half software and half cloud – bodies experience an acceleration of their queer features and reconfigure while surfacing algorithmically through live streams and apps, compressed and loaded onto the ether.

The abstract regime of computer code has morphed the here and now into a screen-based scenario, where perception appears limited to sight and the body itself to an image. A renewed interest in materiality seeks to emphasise the role of affective, proprioceptive and tactile dimensions of experience in the constitution of space and time in visual media. These strategies signal how visuality is still shaped by visceral elements and how other perceptual systems filter different components of object-images according to their own capacities. More accurately, our body functioning as a centre of indetermination, where forms of perception coalesce.

In a background of images in flux and apparently immaterial media, the body is a structural element for representation, an interpreter grounded in sensorimotor systems framing haptic encounters with a hyper-mediated everyday environment.

– João Laia

SixtyEight Art Institute is proud to present our next exhibition centres of indetermination with works by Adriano Amaral, Nina Beier, Søren Engsted, Henning Lundkvist, and Zoe Williams. Curated by João Laia.

The exhibition centres of indetermination examines how visuality and forms related to the body, and how art, can create various hybrid constellations sourced from the body’s instinctive mode. Making new impressions, experiences and forms. The body gets seen, through the different artistic interventions, as an active creator of images and form in our digital lives. The detachment, previously a fragmentation, goes beyond metaphor and into new representation for how the object is working as art – especially inside this environmental complexity. Beyond fixed positions in space (due to the ever moving algorithm), the exhibition dwells how the body can be seen as a structural element in different forms of representation for this liquid digital age, where images merge and circulate via a steady stream of connectivity.

The chosen artworks play with an elasticity of virtual meaning – and its conjugation as content – that is occurring between materiality and virtual representation. To this end, the artworks ruminate (and at times contrast with each other) eccentrically and thus idle with one another, sharp as a razor blade.

Kilde: SixtyEight Art Institute