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Syndicat Potentiel Strasbourg

Lieu de création, de rencontres et d'expériences artistiques

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07 au 22 Nov 2014 - The Shortest Distance Between two points - Tayeb Bayri, Elena Costelian, Eleonore Joulin, Josephine Kaeppelin & Frederic Pagace, Jake Davidson, Fantastic Futures, Parallelograms, Katie Torn & Jenny Vogel

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Syndicat Potentiel is pleased to present The Shortest Distance Between Two Points, curated by Rachel Vera Steinberg and coordinated in Strasbourg by Jeanne Berger, featuring artists: Tayeb Bayri, Elena Costelian, Eleonore Joulin, Josephine Kaep- pelin, Frederic Pagace; Jake Davidson, Fantastic Futures, Parallelograms, Katie Torn, and Jenny Vogel.
The Shortest Distance Between Two Points explores the space in between two cities as mediated by digital communication. This exhibition stems from discussions and artworks made about, for, with, or in rejection of this abstract digital geography. Conceived and executed across great distances and connected online, the concept also defines the content, as no physical work has traveled between cities, rather digitally transferred.
Taking its title concept from the 1997 sci-fi thriller Event Horizon, this exhibition dwells in the digitally networked wormhole between two distant cities: New York and Strasbourg. Although the Internet and other digital interfaces have given us the tools to explore alternative surrogates to real space, these substitutes still have not reached the capacity to mimic the real.

The Shortest Distance Between two points explore l'espace entre deux villes telle qu’il est façonné par la communication numérique. Cette exposition résulte de discussions et d'oeuvres d'art réalisées sur, pour, avec ou contre cette géographie digitale abstraite. Conçue et exécutée sur de grandes distances via des échanges en ligne, son concept en définit également le contenu, car aucune réalisation physique n'a voyagé entre les villes.

The Shortest Distance Between two points
Commissariat : Rachel Vera Steinberg
Conception et coordination : Jeanne Berger

Avec :
Tayeb Bayri, Elena Costelian, Eleonore Joulin, Josephine Kaeppelin & Frederic Pagace, (STRASBOURG)
Jake Davidson, Fantastic Futures, Parallelograms, Katie Torn & Jenny Vogel (NEW YORK)

VERNISSAGE LE JEUDI 6 NOVEMBRE DE 18H À 19H30
EXPOSITION du 07 au 22 NOVEMBRE 2014

Exposition ouverte du mardi au samedi, de 15h à 19h - Entrée Libre

Table ronde MERCREDI 12 NOV 2014 à 18h 30 : “Parcours d’artistes & Mondes de l’art à New-York et Strasbourg” Avec Rachel Vera Steinberg (Commissaire d’exposition, New-York) et des acteurs de l’art contemporain à Strasbourg

En lien avec l’Atelier d’anticipation économique (Syndicat Potentiel / HEAR) et de la Semaine Hors Limite de la HEAR

Les Dossier des artistes et leur CV sont accessible sur ce lien

The Shortest Distance Between Two Points also includes two interactive websites from the New York City based artist groups: Fantastic Futures and Parallelograms.

Fantastic Futures: http://fantasticfutures.fm/the-shortest-distance
To create a sound for the map, call: +33 975188645 (FR), or (646) 846-1234 (USA)
Pour completer la carte sonore, appelez le : +33 975188645 (FR), ou (646) 846-1234 (USA) et enregistrer votre environement sonore directe.

Parallelograms: http://www.deuxfaces.biz/checkout/
"The 25¢ quarter has an absurdly tangible way of providing mundane, minute, abstract, humorous, and transformational exchanges in our day-to-day lives."
" le 'quater' symbole tangible d'échange aux états-unis devient ici abstrait, absurde, minime, et transfome nos échanges quotidiens."

You can purchase a digital edition of each work on the site for $0.25.
Vous pouvez acheter une édition digitale d'un quater pour 0.25$ sur le site internet.


Au Syndicat Potentiel, 13 rue des couples Á Strasbourg
T. +33 0(3) 88 37 08 72








The physical parameters of this project are as follows: artists from Strasbourg and artists from New York combine to mount two exhibitions - one in each city. As an exploratory concept, the form will also define the physical content. Between the two cities, no material objects will travel; rather, the works will only substantiate digitally, to be trans-mutated and materialized in the channels offered in each location. This will create two similar but ultimately different exhibitions, self-consciously surrendering to the limitations of their geographically rooted world.
The title of this exhibition and theory underpinning it are derived from the 1997 science fiction thriller, Event Horizon. The Event Horizon is a spacecraft built to test an experimental gravity drive, which uses a gravitational force field to create an artificial black hole that bridges two points in space-time, thus compressing deep space travel commutes. In an early sequence of the film, the scientist character (Sam Neill) briefs the crew on the physical properties of a wormhole, on the edge of which the Event Horizon precariously sits. To demonstrate the idea of the wormhole, he marks two points on a piece of paper, asking what the shortest distance of between the two is. Utilizing “wormhole theory”, Neill’s character demonstrates that there is a shortcut: the shortest distance between two points is not linear in the way of topographical mapping, but rather to fold the two points together, merging them topologically. He creates a world that folds into itself, collapsing the distance between two unimaginably far places.
From a science fiction perspective, within the past two decades, digital space has become the final frontier, carrying the same unknown dimensions that we had formerly associated with outer space. Following the birth of the internet, a shift took place in the sci-fi world, redirecting the focus inward to cyberspace as the new dimension of ‘outer-limits.’ Through this trajectory, we no longer had to make great voyages to reach our psycho-spatial limits; we can sit comfortably in our domiciles. This cultural period is key to understanding the relevance of this shift; a time that we are currently mining for self-reflection, as the Internet continues to course through the veins of our daily experiences, moving offline into our lives and our art. As digital devices have become the primary means in which we communicate and explore, they become inseparable from how we see and corporeally interact with the world. The Internet is no longer a tool, but a sensibility informant of how to see and navigate through unfamiliar terrains.
Additionally, this exhibition hones in on the re-exploration of landscape as a trope through digital media; how in some cases, the mapping, documenting, sharing or ‘liking’ of these spaces has become privileged over the experiential presence. Whether or not bound to a particular geopolitical positioning, these spaces succumb to the politics of the apparatus: the screen. Harping back to the notion of landscape in artistic representation (from the German-Romanticist idea of the ‘Sublime’), it is ever contin- gent on a possible existence, something idealized but not quite tangible. Although the internet and other digital interfaces have given us the tools to explore alternative surrogates of this space, these substitutes still have not reached the capacity to mimic the real. Rather it has produced a third space, one that is constantly shifting the language of representation. What is slower to shift is the actual taxonomy of a place: the climate, the light, the ecological conditions. These elements will continue to inform our practices, regardless of how interconnected we feel through digital platforms.
To return to our point of departure, in this case, the two ends of the wormhole, running through the shrunken space-time of digital globalization, are New York and Strasbourg. How does one exceed the limits of passing through one physical space to another without losing information along the way? Separating and distorting our landscapes, communication and experiences, the space in between two points, the syntax of this spatial lexicon, is where this third world begins to self-generate.

Rachel Vera Steinberg

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