Future Delay, an exhibition curated by New York-based MOBIUS Fellow Amanda Schmitt, consists of newly commissioned works by Madeline Hollander, Pearla Pigao and Hans Rosenström. The exhibition, on view at Helsinki Contemporary June 7 — July 7, 2019, was made possible by the Finnish Cultural Institute in New York through its MOBIUS Fellowship Program and Helsinki Contemporary through its HC Guest Curator Program.
For hew newly commissioned choreographic work, Madeline Hollander culled data from the air traffic control system of the Helsinki Airport to identify over 25 different landing and takeoff patterns specific to the airport’s three runways and their unique positioning and coordinates. Local dancers have been enlisted to transmute and enact these triadic movement sequences, responding in real time to the airspace monitored by the Helsinki Airport. Three fans are placed to situate the performers and mimic the headwind and tailwind patterns specific to the three runways at the Helsinki airport.
In her mechanistic and generative oeuvre, Hollander exposes the elaborate choreographies of the every day, treating the air traffic control towers as choreographers that compose and coordinate the dancers' motions in real time. Past works have positioned her dancers to interact with technological devices including touchscreens, industrial machines, and air conditioning units, and also has challenged them to reflect upon their own physical limitations as they conduct their corporeal experiments determined by formulas, blueprints, and notations.
Her algorithmic approach to something as organic as dancing reveals a millennial tendency to approach the human body, not as something sluggish and slime-based (in the words of Kurenniemi), but highly programmable, mutable, capable of cybernetic circuitry, and optimistically transhumanist.
With Paul Ryan in mind, it is no mistake that this exhibition features three artists and that Hollander’s choreography involves three performers each representing one of Helsinki Airports three runways. Throughout Ryan’s many years developing and applying his own cybernetic theories and pronounced in his three-ing technique, his aim was that art would be autopoetic and also generate similarly autopoetic behavior from both its participants and audience.