Artists: Marion Philini; Daphne Carstens; Dimitri Yin; Johnny Gordon; Susan Walker; Abigail Yue Wang; David Icko Kovacs; Dario Srbic; Gerard Carson; Ruoru Wang; Bom Kim; Judith Lyons; Samantha Harvey; Nicola Lorini; Rosemary Munro-Kerr; Juan Covelli; Daniel Ayat
CONFLUX is an independent artist prize showcasing a selected group of postgraduate Fine Arts students from the University of Arts, London.
11th-16th July 2015, Trinity Buoy Wharf, London
Paul Goodwin (Tate Britain, UAL)
Ceri Hand (Ceri Hand Gallery, Contemporary Art Society)
Marie Lund (artist, Laura Bartlett Gallery)
Yasmina Reggad (Delfina Foundation)
Francesca Altamura (MFA Curating Goldsmiths)
Tami Clark Brown (Fellow ICF, Arts Writer & NTS Radio)
Ashlee Conery (FormContent)
Samantha Lippett (Pushkin House)
Christian Lubbert (Royal Blue #2 Function Room)
Bar Yerushalmi (Independent Curator & Art Consultant)
Exhibition Text /A Curatorial Collaboration…
'In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time those Unconscionable Maps no longer satisfied and so the Cartographers struck a Map of the Empire that’s size was equal to that of the Empire itself, mirroring point for point it’s geography. The following Generations, who were not as fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless and not without some pitilessness, so they delivered it up to the inclemencies of the sun and winter. Still today, in the Deserts of the West, there are Tattered Ruins of that Map inhabited by Animals and Beggars' -Suarez Miranda, Viajes de Varones Prudentes, Libro IV, Cap. XLV, Lerida (1658) reprinted in Jorge Luis Borges, Collected Fictions, trans. Andrew Hurley (New York: Viking, 1998).
‘On Exactitude in Science’ by Jorge Luis Borges is a short story about a fictional map so big that it exactly replicates the world it is trying to represent. A cautionary tale about the science of cartography becoming so exact it parodies itself, pointing at representation as an obsolete gesture.
Representation, observation, and surveillance are all problematic pursuits in today’s simulacrum society. These artist-cartographers translate and transcribe their subjective perspectives on the lay of the land by tapping into sources of glitched, recycled, and filtered materials. By bringing together these artists, CONFLUX knits together a quilt of recomposed strands of data.
SPONSORED BY: TRINITY BUOY WHARK TRUST, THE LONDON BEER FACTORY and ColArt. ARTIST PRIZES PROVIDED BY COLART, WINSOR & NEWTON, LIQUITEX, CONTÉ À PARIS AND OTHER ART MATERIALS BRANDS).