|“Golden Champagne” with Jessie Stead (as JS/RL)||2013||Exhibition||Traveling||Collaboration|
Golden Champagne is a touring exhibition by artists R. Lyon and Jessie Stead, working as JS/RL. Golden Champagne is both performative documentation and poetic excess culled from the JS/RL Periodicals, a multi-volume series of books, published by Phiadon.com documenting years of hyperactive text messaging between the collaborators.
|“尸Γσ₠§§㏌⅁” with Julieta Aranda & Fia Backström||2013||Exhibition||Goethe Institute Library (NYC)||Collaboration|
Curated by Jenny Jasky for the “End(s) of the Library Exhibition at the Goethe-Institut in New York, this collaboration between R.Lyon, Julieta Aranda and Fia Backström, entitled “尸Γσ₠§§㏌⅁” was broad investigation into the limits of reading and writing in the digital age . 尸Γσ₠§§㏌⅁ produced a variety of artifacts, many of which were re-introduced into the library stacks and are now in circulation. They include two compressed videos: “Hitler” and “Kafka“, a printing of the library’s catalog’s raw twenty three thousand page database as an Amazon print-on-demand one hundred volume corpus, and a three hour audio recording of the performance which read a section of the same catalog. The noise band “Wretched Worst” was invited to play unannounced in the middle of the afternoon. Lydia Liu, author of “The Freudian Robot” presented a series of game-theory games central to the development of the thermonuclear bomb and the modern computer. A free downloadable keyboard entitled “The Human Readable Type” was created that produced homoglyphs, a kind of encrypted writing legible to humans but resistant to computers and data mining algorithms.
|“The Limits of Perception and The Rectangular Frame” #4||2013||Glass, Acrylic, Remoted controlled Helicopters||Studio||In process|
(In Process) “The Limits of Perception and the Rectangular Frame” is a the fourth in a series of performance oriented installations which consider the interplay of apparatus and consciousness as mediators of meaning. The performer and the audiences are positioned in a recursive program of representation, passing information through bodies, machines, and the percept systems attached to both of them. The entire cybernetic program produced is the work.
The Limits of Perception and the Rectangular Frame 4, is concerned with the problems of gravity in a virtual space. It proposes the synthesis of a 20th century debate on painting vis-a-vi a strategy of screen oriented games: the collapse of two dimensional flatness within a third axis of mass.
|“Essential Items: the artists’ work as a series of four inch cubes”||May 2012||Exhibition||Metro Deli & Fisher Landau Center||curator-artist|
On the eve of their thesis exhibition, each of the graduating artists of the Columbia University MFA program were asked to compress their practice into the smallest of cubbies, to be placed in a retail outlet. The result, “Essential Items: the artists’ work as a series of four inch cubes.” was manifested in the Metro Deli in Williamsburg in 2012. The works in the show range from Kristina Lee’s indexical paint drippings on concrete and Sebastian Black’s dandyish studio name tag to Sandy Smith’s iconic painted lightbulb and Mira Hunter’s urn of ashes. The exhibition finished with an offsite postcard dispenser at the Fisher Landau Center and a reception in an impossibly small apartment. Full documentation, including an essay by A.E. Benenson is available at www.essentialItems.org and through an on-demand publication by the same name.