The process of creating and consuming art often gravitates towards neatly defined roles for those making work and their audience. Each decision and action, directly made by the artist, is intended for a work that lives on in a presumed immortal stasis. How does this contract change when the role of the audience is altered? Would the audience still enjoy their passive role after they are activated to join in the production process? How does a work change when it relies on the performance of an ever-changing cast? Non-static in nature, each work presented in this feature by Roland Tiangco, Clement Valla, Harrison Haynes, andCaleb Larsen relies upon a state that exists between inception and fulfillment. Methods and intentions differ but the realization of each piece requires the release of work into a space no longer controlled by its creator.
Roland Tiangco’s Life:size – Book no.1 – 431.8 CM x 213.36 CMpresents itself as a latent transition. Bound and externally appearing as a coffee table book, the volume is home to a life-sized print of a library stack. Begging to be fulfilled, the book maneuvers in a space most often reserved for collectibles where the virginity of the packaging outweighs the value of its contents. While the print can exist within the boundaries of the book, the piece only becomes fully realized once the pages are released and installed as a complete image.
Through the use of digital technologies, Clement Valla explores reproduction, distribution, and the social relationships created by these new tools. In his piece, A Sequence of Circles traced by Five Hundred Individuals, the artist utilized Amazon’s Mechanical Turk, a crowdsourcing labor marketplace, to employ 500 people at 2 cents each to create the work. Participants utilized an online drawing tool to trace a line-based form to the best of their ability. Starting with a perfect circle, one-by-one every participant is presented with the previous contributor’s line drawing to copy.
LRLL RLRR, a percussion-based performance by Harrison Haynes, proposes a manner of reconciliation between divergent halves. Drawing from his independent creative practices of drumming and visual art, this work is brought to life with a second drummer invited from the area surrounding the performance. LRLL RLRRmnemonically references one of the most fundamental and common snare drum sticking patterns. Additionally, the title creates a representation for two forms tied symmetrically from the division of a common whole. Performed simultaneously by both drummers for 74 minutes, the driving beat, while unchanging, perceptively evolves.
With his sculpturally rooted work, A Tool to Deceive and Slaughter, Caleb Larsen creates a quandary where ownership is perpetually in transition. Appearing as a small black glossy cube, the artwork houses a computer that attempts to continuously list itself for auction on eBay. Concepts of ownership are central to the existence of the piece, so much so that the current owner is contractually obligated to continuously supply the work with the means to sell itself, namely power and a connection to the Internet. Once online, the sculpture’s computer queries a server regarding the work’s availability for sale on eBay. If no active auction exists for the work, the process of transferring ownership is attempted again by creating a new auction.
David Andrew Frey is a New York-based artist, curator and technologist. He founded Culturehall in 2008 as a new way for artists to connect with curators, gallerists, collectors and other artists. David received a MFA in Studio Art from the University of Illinois at Chicago in 2000. He has also studied at the Camberwell College of Art in London, the Hochschule der KÃ¼nste in Berlin, The University of New Mexico in Albuquerque, and the Savannah College of Art and Design. He recently curated exhibitions in New York of Culturehall artists for Ligne Roset and the Big Screen Project.