Exhibition Dates: March 27 through May 8, 2004
Reception: Saturday, March 27th, 7 - 10 pm
Janie Geiser, Lane Hall, Perry Hoberman, Lewis Klahr, Bill Leavitt,
Lisa Moline, Lisa Parks, Mat Rappaport, Miha Vipotnik, Paul Zelevansky
Curated by: Lane Hall, Lisa Moline, Paul Zelevansky
Including the following
"SkinScan" (print and live-video installation) by Hall/Moline,
"You Belong to Me," (digital projection) by Paul Zelevansky,
"The Fourth Watch," (film to video) by Janie Geiser,
"Two Minutes To Zero" (16mm to video) by Lewis Klahr,
"Transport02" (video/audio installation) by Mat Rappaport,
"Cards," (index card array) by Bill Leavitt,
"Untitled," (video installation) by Perry Hoberman,
"Loom," (multimedia installation) by Miha Vipotnik and Lisa Parks
In CS Peirces formulation, an index is a sign of the presence of an object, phenomena, or relationship in which the index plays a facilitating role: smoke is an index of fire; pail and shovel are an index of the beach; the index at the back of the book is a skeletal distillation of the books content and scope. An assertion of its "bookness." Pointing and selection are crucial concepts here, because while we may read a graphic arrow or a road sign as demanding focus--or suggesting import or directiona commitment to attention, intention and interpretation are necessary to close the circuit. On a computer screen, the hand cursor icon is an index that makes a claim on a word or image, and in some graphics programs becomes a tool with which to drag an element to another location. But even before being employed to take action, the hand cursor identifies the environmental conditions for electronic navigation--what is presently alive, or inaccessible, on the screen. Supported by speech and body language, the index finger enacts an accusation. Like the book index, the index card that takes note of facts or references in collaboration with other cards and notations, both delimits and structures an intellectual territory. Looking back at the chain of associations that an index can propose, it may be possible to discern a larger pattern or purpose: the consumer price index is down, a warm breeze signals the approach of spring. In this way, the index always calls attention to an order beyond itself even as it invests in contingency and annotation, and remains subject to the destabilizing impact of other indexes.
The @ sign that links name and server in an e-mail address is an index of electronic speech. As a placeholder identifying a position or location in the indexical realm of cyberspace, it has no content in itself, but points to a source where content might be found and retrieved. The context of the @ sign is specific to the screens on which it appears, and the e-mail address books in which it is indexed, but flexible in regard to other outcomes. For example, on this occasion it provides the prepositional glue linking the title of an exhibition and the space where it can be seen, reflecting whatever hip status still accrues to computer use and on-line communication: Index @ Post.
Post this: Considered as a relay or transitional bridge, rather than a definitive example of a concrete aesthetic or form, the index and the @ sign become appropriate markers for the condition of many contemporary art objects. Investing in a multiplicity of sources and alignments, their sense of coherence becomes a product of the temporary confluence of formal effects and conceptual strategies and evaluations: The art work is like or unlike other artworks; it calls attention to the social and cultural milieu which surrounds and justifies it; it embraces or rejects the language and values of its "time"; it declares or deflects its intentions; it is a resolved or inept version of itself; it evokes nostalgia, it looks to the future; it is about "art, it blurs the lines between art and life; it is radical, it is reactionary; it is "cutting edge," it is passé; it is a masterpiece, it is worth 2 million dollars on the secondary market. If the stance of an art work put before an audience no longer presents a definitive ideal or statement in descent from a lineage of older ideals--except as quotation or resistance--it must be canny in asserting something unique before being absorbed into both the acknowledged and unanticipated relationships to which it is indebted. Lacking the authority of a pedestal or gilded frame, the artist and art work have to dance as fast as they can to be convincing. The art work then is an index of what an art work is now expected to be and not be. The art work is "interesting" because it can no longer be "eternal." That is one condition that makes it post-modern, post-structuralist and appropriately thought of as a posting; a retrievable, forwardable, discardable, transient fragment in time, framed as a stable announcement or proposal; a graphic investigation with gaps and limits; a form of speculation implying the need for additional research and corroborating evidence; a private appeal with public goals; a certain call in anticipation of an uncertain response.
Hall/Molines print and video elevator installation "SkinScan" has been created in response to their earlier "Post-Parasites" project, a 1999 artwork in the Post Gallery elevator shaft. "SkinScan" represents the trace-of-a-trace. A video caress of a highly magnified scan of a snakeskin, printed and pasted to the elevator shaft, is activated by the vertical lift of the elevator car. A viewer moves through the static print but also sees the print reanimated on a small video portal.
Lane Hall and Lisa Moline are a collaborative team whose work depicts an associative reinterpretation of natural sciences and visualizations of nature, exploring the boundaries between the natural and the technological. Their current artwork focuses on large-scale print and media installations that respond to interior and exterior spaces. They have exhibited their work at the Brooklyn Museum, Central Saint Martins College of Art and Design in London, the Milwaukee Art Museum and Monique Meloche Gallery in Chicago.[top]
The digital projection "You Belong to Me," is drawn from an ongoing set of Flash animation loops entitled A GREAT BLANKNESS THAT INSPIRES AWE. The animations are composed of found images--selected from clip art, old text books, puzzles and games--music samples, sound effects and short texts both identified and anonymous. While drawn in a variety of styles, the images are chosen for their stereotypical affect. Because they represent their subjects without irony, their flat-footedness can be diverted into other associations and contexts without losing the bluntness of their graphic roots. It is this ability to toggle between pictorial description and metaphor that gives the images their protean power. In collaboration with the images, texts, music samples and sound effects function in a similarly dynamic way, alternatively captioning and describing while suggesting new narrative possibilities in the mix.[top]
"The Fourth Watch" is a small masterpiece of the uncanny
brought about through beautifully controlled use of superimposition and scale
and a cross breeding of "incompatible" species of texture and (cathode
- solar) light. Glacial blue poltergeist somnambulists, melodramatic stars and
damaged children from silent films - emerge at night into a tin dollhouse opening
up invisible envelopes of space, commingling with hypnotic chiaroscuro cast
by trembling sunlight."
(- Mark McElhatten, co- curator of the 2000 New York Film Festivals "Views >From the Avant-Garde")
Janie Geiser is an internationally recognized filmmaker and theater artist whose films are "as extravagantly beautiful as they are difficult, and as allusive as they are elusive" (Cinemascope, Spring 2001). Geisers work is known for its detailed evocation of self-contained worlds, its highly textured mise en scene, and its sublime use of controlled superimposition. Her work has been presented at the Whitney Museum, the Guggenheim Museum, and the Museum of Modern Art; the New York Film Festivals, the Rotterdam Film Festival, PBS, and the Sundance Channel. The Fourth Watch were selected by Film Comment as one of the best short films of 2000. Geiser has been recognized with an Obie Award, a Guggenheim Fellowship, a Creative Capital Grant (with Vic Chesnutt) and a 2002 Rockefeller Fellowship in Film. Geiser has also made a significant contribution to the field of contemporary puppet theater through her innovative original works.[top]
"Two Minutes to Zero"uses vintage comic books from the early 60's of the then popular tv show 77 Sunset Strip to compress a feature lengths worth of crime story into sixty seconds. The piece was commissioned by the International Film Festival at Rotterdam where it premiered this paste January. Music by Glenn Branca.
Called the "reigning proponent of cut and paste" by critic J. Hoberman of the Village Voice, master collagist Lewis Klahr has been making films since 1977. He is known for his uniquely ideosyncratic experimental films and cutout animations which have been screened extensively in the United States and Europe.New Yorks Museum of Modern Art has purchased four of Klahrs films for their permanent collection and curated 3 one person shows with him since 1989.Klahr has also been included in the Biennial Exhibition of the Whitney Musuem of American Art (1991 & 1995). His epic cutout animation "The Pharaohs Belt" received a special citation for experimental work from the National Society of Film Critics in 1994. From 1995 to 1997 Klahrs shorts (Altair, Lulu & Pony Glass) were included in the New York Film Festival. Klahrs latest series "Engram Sepals," a feature length sequence of seven collage films was the subject of an Image Innovators program at Lincoln Centers Walter Reade Theater in May of 2000. Klahr is a 1992 Guggenheim Fellow. Klahrs latest film "Two Minutes to Zero" was commissioned by and premiered at this years International Film Festival at Rotterdam.[top]
Mat Rappaports work explores issues of memory formation and dysfunction, bodily presence and palpable absence. His work has primarily taken the form of video installation in which he creates immersive poetic environments. Key components to this work are video, audio and sculpture integrated within architectural spaces purposely built for these works. In the upcoming exhibit at Post Gallery he is showing a new four channel video and eight channel audio installation titled "Transport02." "Transport02" explores the preservation of memory and the disassociation of a memory fragment from the original experience. Set within a long hallway, the videos are paired across the width of the hall and show images of an airplane turning slowly in space and an image of the same rotating space from which the plane has been moved. The audio is constructed from crowd noise and at one insulates the viewer while also being decipherable. Mat Rappaport is currently an assistant professor of Digital Media at the University of Wisconsin Milwaukee.[top]
Willam Leavitt is a theater artist, musician and painter who has performed and exhibited work in Los Angeles since 1970. He wrote and produced his first theater piece, "The Silk," in 1975. Other theatrical works of his that have had productions or staged readings are; "Spectral Analysis" 1977, "Three Sofas" 1988, "Random Trees" 1990, "Nestror Takes Advice" 1996, and "The Radio" 2002. As a cellist he has performed in several local groups, including Solid Eye, The Subtones, and Provisional Riviera. He was awarded an NEA Grant for new genres in 1991, and a John Simon Guggenheim Fellowhip in 1998. His paintings and drawings are shown at the Margo Leavin Gallery in Los Angeles.
At Post, he will show a selection from a group 3x5" index cards, each with an ink-drawn image of a person, place or thing. These cards were sorted randomly to produce a word list that corresponded to the order dealt out. This word list was then used to create a text for a theater piece called "Pyramid Lens Delta," the title being the first three words on the list.[top]
"Untitled" (1998-2004) is a computer projection made up of every piece of spam that Hoberman has received for the past six years, a total of some 18,000 useless, often offensive messages. Each message is projected for one thirtieth of a second, too fast to read but nonetheless more time than any of the messages deserve. The projected image alternates between sequential display and several different modes of layering, collaging the emails both in space and time. The work is a continuation of some earlier works, a series of prints entitled "My Life in Spam". Like these prints, this work is partly an attempt to visualize the increasing onslaught of unsolicited advertising, but it is also an attempt to render this utterly debased form of communication attractive, even beautiful.
Perry Hoberman is an installation artist whose work has been exhibited widely throughout the United States and worldwide. He works with a variety of technologies, ranging from utterly obsolete to seasonably state-of-the-art. His installation "Timetable" was awarded the Grand Prix at the ICC Biennale '99 in Tokyo, and "Systems Maintenance" won a 1999 Prix Ars Electronica Award of Distinction. "Unexpected Obstacles", a retrospective survey of his work, was exhibited during summer 1998 at the ZKM Mediamuseum in Karlsruhe, Germany, and before that at Gallery Otso in Espoo, Finland. Other recent works include "ZOMBIAC", exhibited at the Kiasma Museum in Helsinki, and "Workaholic", shown at the exhibition "Vision Ruhr" in Dortmund, Germany.[top]
Miha Vipotnik has been a painter and free-lance video artist since the 1970s. He earned his BFA at the Academy of Fine Arts at the University of Ljubljana in 1979, became the creator and curator of the International Video Bienniale during the 1980s, and won a Fulbright fellowship to complete his MFA at California Institute of the Arts in 1990. For almost fifteen years, Vipotnik has worked as a filmmaker, video artist, and commercial director between Ljubljana and Los Angeles. His recent works include a multimedia installation, "Journey to the End of the Ends" (2000), "MoË Usode" (The Power of Destiny, 2001), a 60 minute experimental film about opera composer Guiseppe Verdi commissioned by TV Slovenja, and "Conundrum of Time: Clepsydra", a video installation about ancient and modern time measurements exhibited in Beruit (2002). In 2003 Vipotnik had a solo exhibition at the Skuc Gallery in Ljubljana entitled "Mercury Falling", and he has been awarded a grant from the Soros foundation to do a project in Mongolia in 2004.
LOOM (by Miha Vipotnic and Lisa Parks) is a multimedia installation about the material accumulations and expressive voids that characterize post-war atmospherics. Interweaving elements of video, photography, digital compositing, and archiving, this piece displaces the war in the Balkans underwater.[top]
Lisa Parks is Associate Professor of Film and Media Studies at UC Santa Barbara. Her research explores the social and cultural implications of satellite, television and computer technologies. She is the author of Cultures in Orbit: Satellites and the Televisual (forthcoming, Duke UP) and essays in numerous books and journals such as Screen, Television and New Media, Convergence, and Social Identities. Committed to interdisciplinary and experimental initiatives that combine theory and practice, Parks has collaborated in several international media art projects including Experiments in Satellite Media Arts (2002), Makrolab (2002), Transcultural Geographies (2003-2005), Satellite Crossings (2004), and LOOM (2004). She teaches media art and activism, global media, war and media, digital theory, television history, and feminist media criticism at UCSB, and is faculty affiliate of the Center for Information Technology and Society, the Digital Cultures Project, and UC DARNET.
You Belong to Me
The Fourth Watch
Two Minutes to Zero