Casey Kaplan

NATHAN CARTER, JASON DODGE, CEAL FLOYER, LIAM GILLICK, CARSTEN HÖLLER & SIMON STARLING

EXHIBITION: “Lap Dissolve”
EXHIBITION DATES: November 30, 2002 - January 11, 2003
GALLERY HOURS: Tuesday – Saturday - 10 - 6 PM

There is no narrative implied in the title. A structural editing tool has been borrowed to bring specific moments together. Rather than an exhibition based on a critical model of similarity, "Lap Dissolve" uses a functional device to test a number of root ideas that float around the practice of some of the gallery artists.

Simon Starling’s cross-border identity shifts: At least twenty years old, a Fiat car is rebuilt, refinished and gently problematised through renovation with new parts from a "Polski Fiat," the Polish company who continued to produce the Italian models, re-badged for use in a time-frame just behind the Italian original. It is documentation of a car and exposure of ideological paradox.

Jason Dodge. Leaving bleakened traces of fixed and trussed up structure. The main door to the gallery is improved and compromised simultaneously. Additionally a hanging structure, with the obvious potential to fold, offers a mute diagram of logic and non-ornament, acting as a surrogate for some more functional devices.

Nathan Carter’s post-mapping, wrought into a super-aesthetised, content-heavy play. Bringing together his re-jigged excess of reference points towards new works that combine a post-formalist position with a new model of new models.

Ceal Floyer presents a roll of "admit-one" tickets, rolled up as a monochrome surrogate for a never-should-be-experienced moment.

Carsten Höller, with a parallel science scenario that offers up a moment of perceptual collapse.

Liam Gillick offers two scaled objects and a text that describes attire as structure. Discourse reconfigured through the filter of Gabriel Tarde’s pre-science-fiction.

Each discrete structural play here leaves resonance and mental traces that lap across to the next. The after-image of the first forming the base for the second and so on. While at no point could you argue for a logical progression, a sequence of rapid cuts here would emphasize the exhibition’s ambiguous status as both fiction and documentary simultaneously.