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“I first learned of Magnús Pálsson’s work while organizing a weekly community radio show during a residency in Seyðisfjörður, Iceland. While preparing an episode on sound poetry, I was searching for some Iceland-based artists, and the first name on every Icelander’s lips, when it came to that medium, was Magnús Pálsson. But for an English speaker whose Icelandic is limited to takk (thanks), it was nearly impossible to find any recordings or audio samples of Pálsson’s work, most of which was in Icelandic and distributed via physical media. I have my own personal fascinations with obscurity, and so this unavailability, intentional or unintentional, was intriguing to me.”

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“L-a-s-e-n-i-o-r-a-i-n-d-i-c-a-r-a is a pandemic born project. I was already really interested in time used as a data structure to translate lived spaces into digital spaces, but when the pandemic started, the concept of time became my obsession. All of the sudden, time surrounded me. There was nothing but it. I felt almost like we lost the dimension of space. The world became my little apartment in NYC and my connected screens. I kept thinking about Paul Virilo’s “Open Sky” book, in which he states that in the cyber-connected world we don’t share space but we share time. Electronic synchronicity is what kept us going. A hybrid dimension between space and time where we spent our days. I wanted to make an artwork that could be exhibited in that space, and would strip the historical conditions and geopolitical implications of the nature of that space.”

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“The world that we live in is a complicated one. The relationship between it and our interior universe is complex. The nature of photography is both exclusive and implicit. While it can represent with incredible detail and precision, it can never represent in totality. I see this as the strength and weakness of the medium. The more I photograph the more I lean into this dynamic.”

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German painter and sculptor Wolf Vostell and one of the early adopters of video art and installation art.  

The Grid



Photograph, EXSIZ, 2011 by Shannon Ebner
In the spatial sense, the grid states the autonomy of the realm of art. Flattened, geometricized, ordered, it is antinatural, antimimetic, antireal. It is what art looks like when it turns its back on nature. In the flatness that results from its coordinates, the grid is the means of crowding out the dimensions of the real and replacing them with the lateral spread of a single surface. In the overall regularity of its organization, it is the result not of imitation, but of aesthetic decree. Insofar as its order is that of pure relationship, the grid is a way of abrogating the claims of natural objects to have an order particular to themselves..."

Rosalind Krauss from her article Grids in the journal October