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Maybe it Takes a Loud Noise

July 3, 2012 to July 28, 2012

Images:

Can These Antiques Ever Prove Dangerous Again?
Clearance
Do We Need New Metaphors?
First as Tragedy, then as Farce
First as Tragedy, then as Farce, Finally as History
Object Lesson: Frames of War
Object Lesson: The Administration of Fear
Object Lesson: Violence
Revolution Offline
There are Subtler Economies
Turkey Vulture
We are All Implicated
We Need New Narratives
Your English Sucks (artist/artisan)
Your English Sucks (bring/take)
Your English Sucks (clear/transparent)
Your English Sucks (communist/socialist)
Your English Sucks (democracy/republic)
Your English Sucks (freedom/liberation)
Your English Sucks (intelligence/information)
Your English Sucks (piece/project)
Your English Sucks (political/social)
Your English Sucks (safety/security)
Your English Sucks (spirituality/religion)
Your English Sucks (that/which)
Your English Sucks (violence/vandalism)
The Earth is Flat
Statement: 

In our work the process of translation is a constant, from language to image to object (and perhaps back again), from one intelligence to another. We are heavily influenced by both the texts we read and the structure of the book, making work that, in a broad sense, addresses the activities of reading and writing and the ways that we come to and through knowledge. The space between words and images is crucial, and we use it to explore the problematic processes of learning (in and out of an education), of labor (in and out of the art world), of conservation (in and out of the historical canon), and, most recently, of revolutionary politics (in and out of our living room).

In the past year, we have been caught up in the surges of parallel revolutions both intimate and remote. We watched our son take his first steps as Tahrir Square filled with people. These beginnings have focused our attentions on the future, on the shape of politics in our lives, and on a persistent set of problems: the widening divisions between ideologies and between incomes, the acceleration of time and the diminishing of public space, the blank hum of strategic media silence, and the possibility that so much protest might accomplish very little. These conditions are bracketed by questions of representation—and the circulation, ingestion, and veracity of all that we now call ‘information.’ Belief is partly an aesthetic process. We use the aesthetic objects we make as conduits for ideas. And, we look for them to in turn use us, showing us new ways to think, regard, and recognize where something like truth might be.