INFINITY GOES UP ON TRIAL, 2011-
∞ Things (That I'm A'sayin') ∞
An investigation into image, language, object, and untranslatability
In a world of objects, text, and images, there is a consistent practice of translation, interpretation, contextualization, re-translation, reinterpretation, and recontextualization. Infinity investigates entanglements of that translation, between objecthood, language, image, artifact, and their respective relationships with ethnography, institutional systemology, and the function of the museum. Sarat Maharaj points to the "opaque stickiness" of the process of translation in his text, "Perfidious Infidelity: The Untranslatability of the Other." I would postulate that such stickiness extends through the very artistic practice itself.
Throughout Infinity I explore an ever-growing "collection" brought together through an underlying code, a framework, a translation across media and language, an archaeological "fieldwork" across a meshwork of referential associations, both as a museum and as a method to generate an image, based on an undisclosed (or, barely disclosed) pop cultural icon. The same pop cultural framework also informed the absurd structure of the museum itself, its function, editing and display. A visualization of ideas as artifacts. An archaeology of language.
The pop icon as a figure is consistently misconstrued, deconstructed, reconstructed, elevated, denigrated, labeled, and categorized, much like the museum or institution itself. Some - if not one in particular - remain staunchly elusive, refusing definition. Perhaps a ridiculous Borgesian upside-down order, a map and also a museum, a "collection" of things said, a root to encounter things and images, the structure then becomes built on the undefined. An establishment built on anti-establishment. Intermittently viscous and sticky -- also perhaps what best describes an archive or a museum display as well.
As Taryn Simon has said, "Archives exist for me because – not for the archives themselves – but for all the gaps between the collected information."
One culmination of the project is a publication, a suggestible "catalog" of the collection, a material collection of images which sought to ask in part:
Can a catalog replace the necessity of objects in a museum?