In November, I wrote about Giovanna Cerise’s latest full region installation, Chaos, Kosmos, currently open on LEA21 as a part of the 7th round of LEA artist In Residence grants.
the initial installation has been extended with three airborne platforms offering pieces by three artists Giovanna invited to participate in her work. Together, all three are referred to as “Project Algorithm”, and each appears to be designed to carry forward something of the original theme of Chaos. Kosmos – examining the relationship between two seemingly opposite elements which may actually be two sides of the same coin. In the case of the original piece, this involves examining the relationship between the ordered cosmos and its chaotic origins (which it still, despite its own order, also echoes).
The three new pieces on offer are reached via the spherical teleport at the Chaos, Kosmos landing point. As they are all independent works, the order in which they are visited doesn’t appear to be important. As such, I’m tackling them here on the basis of height above ground – from the lowest to the highest.
So the first piece is Live and Die, by Pol Jarvinan, which appears to examine the relationship between life and death; neither of which can exist without the other, and yet both are opposed to one another. The relationship is presented, to my eyes at least, on a number of levels.
The major part of the piece, when cammed around, can give an impression of a graveyard, the black and white shapes frequently forming crosses as the camera moves – the field of death. In the centre of this is a small region of colour – life. Yet even this colour exhibits something of an ebb and flow: the word LIVE is green / healthy; the word DIE is pale / sickly. between them lie a series of geometric shapes in a rusted hue; suggestive of ageing. Throughout the piece are black-and-white circles which, as the camera moves, can appear to be individual or overlapping, perhaps again symbolic of the relationship the exists between being and not being.
Nino Vichon opts to examine the algorithm – or relationship – between fantasy and prediction through his piece, Observatorium. Here, he sets out the view while appearing separate, fantasy and prediction are perhaps intertwined. Neither requires linear steps in understanding, and both can be based upon creative or intuitive leaps of the imagination as much as anything else. As such, they are not mutually exclusive in application; rather they are complimentary. He illustrates this through the examples of chemistry and its relationship with alchemy (from which it grew), and astronomy and its relationship with astrology (ditto).
The uppermost platform is home to Daco Monday’s Chaos, perhaps the most involved and perplexing of the three pieces. It is defined as “the Algorithm of history”, although quite how it should be interpreted is difficult to discern.
There is a quote within the piece, “la luce diurna e razionalista della storia moderna si va spegnendo il suo astro declina avanza il crepuscolo e ci avviciniamo alla notte” – which, I think is a reference to Novoe srednevekov’e (“The End of Our Time”, also known as “The New Middle Ages”) by the religious and political philosopher / Christian universalist Nikolai Berdyaev.
As I have no idea if I’m barking up the wrong philosophical tree here or not, I’m loathe to plumb this piece further in writing (although I’ve been mentally scratching my head over it during the course of the last 24 hours…). Therefore, should you wish yo know more, I can only suggest you go take a peek for yourself.
Project Algorithm will remain open, along with Chaos, Kosmos, until the end of December 2014.
Related Links
- Chaos, Kosmos SLurl (Rated: General) – use the teleport sphere at the landing point to reach the platforms.
Inara Pey: Living in a Modemworld 