Mathieu K. Abonnenc, Andreas Bunte, Fiona Connor, Camille Henrot, Channa Horwitz, Maria Loboda, Kate Newby, Benjamin Tiven, Vincent Vulsma
11.10.13 - 09.11.13
Henningsen Gallery

Curated by Tim Salterelli

Former Secretary of Defense Donald Rumsfeld once famously elaborated upon the things we know and those that we don’t. Echoes of this consideration, albeit without the same rhetorical flourishes, were more recently heard emanating from current Secretary of State John Kerry. Knowledge, along with its corresponding evidence and facts, demands that it be asserted.

Here, one finds an exhibition constructed as an essay, a kind of object study, one articulated through a number of different artworks and things. Carriers of certain specific forms of information, the works are coded by language and animated or electrified through their corresponding modes of production. Simultaneously examining the mystified “conversion of social relations into things," the works are presented linearly, frontally, and somewhat cinematically. Or perhaps in a manner akin to a fixed playlist. 

And so while there are some things about the exhibition that we do not know, we know that it contains wooden signs, animated video loops, a set of ceramic rocks, three black and white photographs, tapestries, minerals, flowers, a bronze sculpture, gouache on paper drawings, and two16mm colour films transferred to video, each of which enunciates a relationship with either the manner in which it was produced (be it naturally or through industrialized processes), or that which it might produce itself.

The question then becomes about how to use this knowledge productively. Or, as Trista E. Mallory asks in her essay about Michala Paludan’s Lanx Satura, "what happens to objects that are acted with, and which also act?