Mike Moceri and I are collaborating on a project that premiers tomorrow night at The Southside Hub of Production. We are going to be be 3d Scanning (with the Kinect, Reconstructme + Netfabb) visitors to tomorrow nights opening reception and then 3d Printing them, there and then for folks to take home with them. All the “portraits” we scan will be uploaded to Thingiverse to share with teh internets. We have also scanned portions of the exhibition and the interior of the building and we will be installing 3d prints of these vignettes over the course of the exhibition. Hope you can make it tomorrow night and add your portrait to the growing archive.
SHoP
On Making Things Matter: Strategies For Preservation
curated by Laura Shaeffer, John Preus and Alberto Aguilar
Hyde Park Kunstverein
Alberto Aguilar: Object Reservation
Opening Reception: Saturday, May 26th, 6:00 – 11:00 pm
Red Flags Salon hosts: Rafael E. Vera and Mara Baker
Exhibition Runs: May 26 – July 15, 2012
(A schedule of accompanying events will be released separately)
Participating artists:
Hope Esser, Nazafarin Lotfi, Jeremiah Hulsebos-Spofford, Teresa Pankratz, Bryan Saner, Jorge Lucero, Hui-min Tsen, Samuel Sotelo-Avila, Alex Bradley Cohen, Pete Fagundo, Norman Long, Rafael E. Vera, Mara Baker, Adam Farcus, Alexander Stewart, Madeleine Bailey, Erik Peterson, Rachel Herman, Tom Burtonwood, Rebecca Beachy, Daniel Tucker, Michael Webster, Coleen Plumb, Edra Soto, Dan Sullivan, Elizabeth Szwaya, Matthew John McWilliams, Mike Moceri, Andrea Smith, Chris Lin, Kayce Bayer, Victoria Martinez, Collective Cleaners, Jim Duignan and Teacher’s Lounge
On Making Things Matter: Strategies For Preservation
This is a show about leaving. As many of you are aware, SHoP will close down/move on July 31st. In keeping with tracking our life in the house, this exhibition explores strategies for holding onto experience, for wringing the meaning and significance out of the things that happen to us. We take pictures, we buy souvenirs, we write in journals, we perform rituals, we have parties, we tell stories and embellish them. Clearly, without memory we are helpless, but why not just let it happen and move on? Is enjoyment of an experience exclusive of the possibility of documenting it? Do we have to choose between immersing ourselves in experience and abstracting ourselves from it so as to understand, document, remember, define it?
Cognitive science suggests that when we recall something, we are in each case remembering the last time we remembered it, and not returning to the primary source. Memory is fugitive, like the color red. It cannot maintain vibrancy for long, yet certain experiences, whether chosen or imposed, persist as primary, significant, essential narrative features in our autobiographies. Can these moments be authored, or do they happen in spite of us?