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.