Éclair presents Kangaroo Stele, a new body of work by Jason Loebs. For the exhibition, Loebs has taught himself Teeline, a shorthand writing system commonly used in courtrooms and police-evidence recordings. The practice of writing in shorthand (formally known as stenography, from the Greek stenos, meaning “narrow”) allows a writer to take down information more rapidly, using abbreviated symbols. It’s an ancient practice; there are shorthand notes inscribed in marble on the Parthenon. Here, the artist borrows a method from antiquity: Loebs has etched stock phrases from English-speaking courtroom trials (drawn from his handwritten shorthand notes) into marble: “The exhibit is accepted into evidence”; “As jurors, you are not to be swayed by sympathy.” Using this judicial form of record-keeping, the artist considers the democratic judgment of art. By recasting the experience of contemplating art as a hypothetical trial, Loebs asks: Who might the prosecutor be? The accused? The exhibition’s title recalls kangaroo courts—a judicial assembly that ignores recognized standards of law or justice, and carries no official standing in the territory in which it’s carried out.
On display in a second room is a series of photographs of smartphones laid on a workplace table. The phones reflect images of Berlin’s Moabit Courthouse, disclosing an anterior source for the image on their surface. Loebs has lit Éclair by installing cleanroom lighting typically used in labs for manufacturing and photo developing. The lighting comes to stand in as a generic site for scientific procedure and production—pointing to the double meaning of the word “trial”—both experiment and as tribunal.
The Flute / St. Lucy
February 16th – March 18th 2018
trailer St. Lucy
Stefan Thater, Der Mann mit dem runden Gesicht
December 16th 2017- January 29th 2018
Builder and Demon
September 24th – November 12th 2017
“The negotiation of social, corporeal, and spatial human congurations, initiated by encounters with the unknown, created new spaces, specically Man’s geographies, which are overdetermined, normalized, and naturalized. The inventions of Man come to be reected in spatial queries and arrangements. If Man is an overrepresentation of humanness, Man’s human geographies are an extension of this conception.
“In mathematics, physics, and computer science, the demonic connotes a working system that cannot have a determined, or knowable, outcome. e demonic, then, is a non- deterministic schema; it is a process that is hinged on uncertainty and nonlinearity because the organizing principle cannot predict the future. is schema, this way of producing or desiring an outcome…acts to identify a system (social, geographic, technological) that can only unfold and produce an outcome if uncertainty, or (dis)organization, or something supernaturally demonic, is integral to the methodology.
In her essay, ‘Beyond Miranda’s Meanings: Un/Silencing the “Demonic Ground” of Caliban’s “woman”,’ Sylvia Wynter…suggest[s] that a demonic model conceptualizes vantage points ‘outside the space-time orientation of the humunucular observer.’ is vantage point makes possible her analysis of our historically present world-human organization, the ‘order- eld wherein ‘race’ functions to distinguish Man from his human (black, native, female) others. Her analysis does not lead her to discuss Man verses other, however. Rather her demonic model serves to locate what Wynter calls cognition outside ‘the always non- arbitrary pre-prescribed,’ which underscores the ways in which subaltern lives are not marginal/other to regulatory classicatory systems, but instead integral to them. is cognition, or demonic model, if we return to the nondeterministic schema described above, makes possible a different unfolding, one that does not replace or override or remain subordinate to the vantage point of ‘Man’ but instead parallels his constitution and his master narratives of humanness.”
Demonic Grounds, Katherine McKittrick
Rules of the game played 22 September 2017 at Éclair, Gotzkowskystr. 16, 10555 Berlin, Germany:
- Each word must be 4 letters.
- Each word must use the same vowels as the cardinal direction of the vantage point of the architectural card.
- Verbs are preferred, then nouns, then adjectives, then all other word-types.
- Standard English words are preferred.
- Only the letters in the set may be used. The set consists of 9 A’s, 2 B’s, 3 C’s, 4 D’s, 12 E’s, 2 F’s, 3 G’s, 2 H’s, 9 I’s, 1 J, 1 K, 4 L’s, 3M’s, 6 N’s, 8 O’s, 2 P’s, 1 Q, 6 R’s, 4 S’s, 6 T’s, 4 U’s, 2 V’s, 2 W’s, 1 X, 2 Y’s, 1 Z.
- All rules may be broken except 5, 6, 7.
- Retreat is not an option.
Thanks to Yaniya Lee, Nataleah Hunter-Young, Michael Litwack, Anna omas, Laurie Kang, Sandra Huber, Elisa R. Linn, Dylan Aiello, and Dan Kwon, for conversations that led to the exhibition.