“Revenge of the Crystal” presents a world where objects have taken over, through strategies of seduction, exploring the ways they manifest themselves in the built (non) space and surreality. Modernity, always familiar with these restrictions of exchangeability, sets up the distinction between todays reality and the reality of the object.
Taking its title from Baudrillard’s text, “Revenge of the Crystal” combines the primacy of appearances with his articulation of the ‘enchanted simulation’ - to transform our notion of the real, of representation, and of art’s mimetic capabilities within our relationship to the productive manipulation of meaning.
Each work on view seeks to grasp an explicit, oneiric connection with greater unconscious instincts, embracing the intensifying dissolution of borders between simulacra and the real, between spectacle and the body. We don’t so much discover the work as uncover it: a subjective image part of a larger composition, made suddenly real, by which we see the metaphysical dimensions disrupting the very point of impact within reality, and functionality; the very possession of a surface, shimmering at the distance of the horizon line. Dusk fuckers.
Intuitively we need that kind of space - where everything retains its very realness, where co-inhabiting alternative social and physical spaces alters both. The works on view - a curious mix of both flat and not, figuration marked by both presence and absence, physical edges made blurry with memories - contest, resist, or collapse existing spheres as indifferent and mutable objects which, like ‘the crystal’ fall away, brought to an impasse. In this new space, the works become a form of signature, portraits that unfold in and enact themselves on the self, and that self’s body, a illimitable allusion. Navigating this revelatory hallucinatory world, we are left delirious, boundaryless, not defined by, or limited in face of obscenity with a view.
Text by Camille Weiner