Corporate Video Decisions, 2011
“Corporate Video Decisions,” your current exhibition at Michael Lett gallery in Auckland, includes the covers of Corporate Video Decisions, a magazine from the 1980s about the use of video technology in corporate culture, shown on flatscreen televisions, and a series of printouts of the entire content Diligent Boardbooks’s website, a paperless business software company based in Christchurch, NZ and New York. I’m really fascinated by this double inversion of the way content is communicated to us: the print magazine on monitors, the website printed out. Can you talk a little bit about the exhibition and your use of inversion, as well as languages of marketing and advertisement, as an aesthetic strategy?
Yeah, I should say first that there is another layer of processing that is maybe difficult to make out in the online photos of the exhibition. The print magazine covers were actually photographed playing as jpegs on the LCD 3D-enabled televisions, then that whole image is inkjet printed on canvas, twice—like two copies of each canvas—and these are screwed together with aluminum tubing between the two canvasses in each corner, spaced to mimic the dimensions of the monitor they depict. So you have two canvasses with the same image on top of each other in place of the monitors.
To answer the question, for me, the exhibition’s aim is to present two snapshots of different moments in the recent history of commercial video through looking at these quite different pieces of ephemera—a magazine and a website. The nature of video technology is such that a fast, controlled, obsolescence cycle is systemic to its existence, and materials and formats come and go very quickly. As this is the case, making an exhibition that has this fact built into the way it is presented is for me very important. That is to say, the way the content is presented should form a dynamic which helps describe the show’s themes. Depicting the fickle material conditions of video via changing formats of what is regarded at a certain moment to be contemporary ephemera (magazines, websites), which are then presented through another fast shifting technology (printing), one indicates these movements in the presentation structurally.
Contrasting this ephemerality with the themes that are covered in the 80s magazine—trade fairs, gender and minority equality, economic conditions, crisis culture, generic products—(these topics clearly relate very well to our current moment also), underlines the truism that while technology might change, certain issues tend to be relevant for longer periods.
For me the exhibition’s format highlights this tension between the permanent and the impermanent, between vast material change and comparatively slow shifts in life/work conditions.
On the language of advertising, one has of course this ambivalent relationship to it where one knows it’s manipulative, but its efficiency is seductive and affective. One most likely follows this language’s logic implicitly in one’s self. That is to say this way of communicating is unavoidable and is just there. I am not sure if looking at this is really an aesthetic strategy. Even just conversing can be considered to be a commercial act, and it’s not so easy to attach a value to this. It is one’s life, after all...
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