We live in an insatiable society that subdues its members to its technological apparatus, which never sleeps. Transcontinental corporations, the world stock market and increasingly mobile careers may be examples of structures of production, which prominently override the chronobiologies of its human agents, but in reality few escape the subtle pressure of “living life to the fullest” or achieving social success. Where lies the border of this culturally imposed skewing of the human biological rhythm, beyond which the primordial zoe revolts against its bios and begins to devour itself? Which social installations sustain the population on the edge of its circadian tolerance?
The project Solar Displacement is an agora for the deliberation between the acceptance of a culturally suboptimal body and the potential of human agents to emancipate themselves from their biology using alcohol, pharmaceuticals, natural remedies, or phototherapy. A custom application developed for the mobile phone keeps track of the luminosity of the participant’s surroundings and mirrors the light conditions in the rats’ environment. The rats respond to the artificial light by displacing their rhythm of activity as well as with self-medication. The synchronization of the participants with their bioindicators thus allows them to observe their physiological bodies as if they were dissociated, autonomous entities and are simultaneously urged to take responsibility for the well being of the rats’ as well as themselves.
Solar Displacement aims to synchronize the circadian rhythms of each of the participants to pairs of rats living in the gallery. Each pair is housed in a ventilated box with ample water and food available at all times. The route of synchronization is through the luminosity inside the cage, which changes according to the intensity of the light to which the human participant is exposed. This is done by utilizing the smartphone with a custom application as a light sensor, which transmits the luminosity readings to a server from which the lights in boxes are controlled. After several days of coordinated exposure, the circadian rhythms of rats and the human are synchronized and the pair of rats begins to act as an autonomous avatar of biological body of the participant. Because rats are nocturnal animals their activity cycle is shifted for 12 hours in respect to human activity, but the periodicity of sleep and activity cycles is comparable. Depending on the lifestyle of the participant, the rats may begin to exhibit some of the common symptoms of circadian rhythm distress also known as social jet lag. These symptoms are observed by monitoring the rat activity over time using a thermal camera mounted in each cage, as well as measuring their propensity to drink an extract of valerian, which is a remedy for anxiety and sleeping disorders both in rats and humans.
En el siguiente vídeo su comisario, Jean-François Chevrier, y el director del Museo, Manuel J. Borja-Villel, explican cómo los artistas se afanaron en transformar la idea del relato biográfico y superaron las convenciones del biografismo al elaborar libremente ciertos elementos tomados de su propia trayectoria vital.
La exposición "Formas biográficas. Construcción y mitología individual" revisa la dimensión narrativa del arte en su relación con lo literario. La muestra analiza la relación entre “vida y obra”, así como los mecanismos de construcción de la identidad y de la biografía que operan a lo largo de la actividad artística del siglo XX.
Mark Moore Gallery proudly presents Joshua Dildine’s inaugural showing in the main exhibition space. At the intersection of abstraction and photography, Dildine uses seemingly mundane imagery from family photography as a backdrop to his painterly gestures and forms. With the original subjects of the photographs obfuscated by these otherworldly gestures, his work interrogates the relationship between projected nostalgia and the mechanics of memory.
Mark Moore Gallery proudly presents "Elsewhere" in the Project Room, an exhibition of new work by San Francisco-based painter, Patti Oleon. Predominantly intrigued by light and the tenuous nature of appearances, Oleon begins by taking photographs of public interior spaces devoid of human presence. These often include hotel and apartment lobbies, TV and movie set locations, and museum period rooms - all of which appear disassociated from contemporaneous place and time. Once translated into her illusory oil paintings, these spaces represent an ambiguous reality that delves into viewer's unique psyche and memory.