Oliver Laric

Matthew Northridge   The World We Live In   

Mark Barrow

Renaud Jerez - Lucky Strike

Dan Graham | Detail of an annotated photograph of a performance to ‘Two Correlated Rotations’ (1970 - 1972).

What happens when one loophole leads to another? Among other things, most of all I’m indecisive. This, of course, has the dangerous potential to be paralysing. None the less, when I’m sometimes trapped in my idle thinking I somehow feel productive, simply because it seems that I’m trying to think things through. Also – and this is perfectly commensurate with my wayward resolve – I’m restless. Once I’ve meandered my way towards a resolution, I almost immediately find myself wanting to move on. And so it goes: the slow move towards realising an eventual position inevitably shifts to another (and so on and so forth).
Dan Graham’s Two Correlated Rotations illustrates a similar irresoluteness. When I think of my own restless, back-and-forth nature, I think of Graham’s cinematic experiment. And when I think of the dual projections of two cameramen filming each other while walking in counter-spirals into and away from the opposite’s point of view, I think of the way in which its divergent, wandering and erratic sense of perspective might offer itself as not just a simple formal exercise, but as a strange model of liberated reasoning. If dissonance is a phenomenon that cuts across all formal, sensory and emotional divides, then Two Correlated Rotations allows one to exploit its discordant effects for the purposes of unconventional thought – rationality can take one only so far.
And yet what if irrationality itself becomes the operative standard? If Graham’s model of upended geometry and multiple perspectives asserts itself as the potential new norm, the effect of all positions never achieving full autonomy can be just as equally disorientating, discomforting and disastrous. Indeed, there’s nothing more spectacular than a disaster, and in an ongoing loop of perspectives that spiral out to form a continuum of perpetual digressions, it may be that this new tangled logic can yield only greater confusion. - Tim Lee [via Tate]

Fergus Feehily, Yard, 2010

Marcel Broodthaers, Untitled (Les Portes du Musée) [The Doors of the Museum], 1968–1969

Natasza NiedziolkaStill Life. FCB. Rose.
2013Embroidery & acrylic on cotton19.3x17.3” / 49x44cmNN091

Matteo Callegari at Federico Vavassori

Elliott Wright

Sam McKinniss, the quick and the dead, 2014, oil/canvas, 24 x 30 inches. 

LAUREN CLAY Angler, 2014 paper pulp, plaster, paper mache, wood, 62 x 50 x 5 inches

Bharti Kher, I write your name in white, 2009