Lost In Transmission
Marcos Calvari, Lole Remón, Federico Gloriani, Federico Barabino

22.11.2019 — 29.12.2019

Why are some ques­tions about the begin­ning of time, exis­tence and the macro­cosm deemed triv­ial by West­ern thought? Can inex­plic­a­bil­i­ty and ran­dom­ness be skimmed out of our under­stand­ing of the uni­verse like “unnec­es­sary fat” from processed milk?

If only the cos­mos was an order­ly and har­mo­nious sys­tem, build­ing faster and more pow­er­ful com­put­ers to har­ness big­ger bulks of data could be a viable method to under­stand its phe­nom­e­na. How­ev­er, it has a com­plex struc­ture with unex­plain­able and unpre­dictable fac­tors. Sci­ence can antic­i­pate the rain but what about earthquakes?

Mar­cos Cal­vari, Lole Remón, Fed­eri­co Glo­ri­ani and Fed­eri­co Bara­bi­no pose ques­tions about the lim­its of sci­ence to under­stand how the uni­verse behaves. They cri­tique West­ern thought (and sci­ence as its great exam­ple)  and its ten­den­cy to focal­ize the quan­ti­ta­tive qual­i­ty of knowl­edge while over­look­ing cer­tain complexities.

Cal­vari cre­ates a mosa­ic from a4 papers based on images of the Lunar Sur­face. He uses a sta­tion­ary style copy machine to print a high-res­o­lu­tion pho­to­graph­ic image of the moon gen­er­at­ed by “state of the art” tech­nol­o­gy devel­oped by The U.S. Nation­al Aero­nau­tics and Space Administration. 

Fed­eri­co Gloriani’s dia­grams look for a com­mon thread with­in dif­fer­ent artis­tic prac­tices through a sta­tis­ti­cal visu­al analy­sis based upon image-based doc­u­men­ta­tion. In ref­er­ence to the loca­tion where the exhi­bi­tion takes place, Glo­ri­ani stud­ies the works authored by the founders of the D Group, an asso­ci­a­tion of artists from Turkey that was active in the first half of the 20th century. 

Barabino’s work I’ve heard it all, con­sists of a set of sound equip­ments placed inside a case filled with earth. The pitch of the sounds gen­er­at­ed by the work are out of range for human ears. The work aims to point out that in the era of active noise can­cel­la­tion sys­tems our audi­to­ry envi­ron­ment becomes mere sim­u­la­tion. The work explores our lim­it­ed hear­ing capac­i­ty com­pared to oth­er ani­mals. The exhi­bi­tion is curat­ed by Lole Remón who also oper­ates as an artis­tic inter­me­di­ary with an essay on a mul­ti chan­nel video for­mat. Remón’s text is writ­ten as an inquiry on the form and mean­ing of dis­cours­es and world­views from which a col­lec­tive real­i­ty is built by indi­vid­ual subjectivities.

Lost in Trans­mis­sion aims to artic­u­late the dis­con­tents of the infor­ma­tion age. Dur­ing our cur­rent cul­tur­al moment, doubt los­es its poten­tial to pro­pel knowl­edge pro­duc­tion, and con­struc­tive spec­u­la­tive think­ing fails to bring about new futures. Through a clos­er look at symp­toms such as data fetishism, a com­mon belief that asserts quan­tifi­able data is the ulti­mate truth, the exhi­bi­tion delves into var­i­ous aspects of the upcom­ing epis­te­mo­log­i­cal break while pos­ing a crit­i­cal reflec­tion on the mea­sures of our sci­en­tif­ic knowl­edge and gov­ern­ments of information.