Your Strangely Familiar Customs are Alien to Us,
Please Consider Revealing the Secret of Their Significance
Opening: Saturday May 19th, 12:00 – 18:00
Open: May 20th – 26th, 12:00 – 18:00
An exceptionally long title deserves a short explanation. Anyone who has ever tried to defeat an inanimate object in a staring contest knows; this is not the way. As strategy tells us, always face the stronger opponent on ground where his advantages can be taken away from him. This is why, in order to get anything done, one must always study a thing thoroughly and then walk away from it. Inevitably a thing, tricked into thinking it holds all the cards, will expose itself by carelessly wandering into territory where it can be taken apart and reconfigured.
What is represented through the title is neither a fragment of a sentence nor a study for a question. Nonetheless, there is something to respond to. Theoretically speaking, it is the event horizon of several dark spots pasted onto the fabric of spacetime, which in this case will be represented by pieces of canvas stretched over some odd number of manageably sized frames, and covered with glue, chalk, and patches of pigment mixed with linseed oil. While it is known that human beings tend to empathise with, or indeed react violently to that which bears a resemblance to themselves, the main attraction here seems to be a slightly out of focus alternate center of attention that begs no more than just that. If this becomes possible, it is only because the medium is so specific it can cause the rules of contemporaneity to behave strangely in the immediate area surrounding it.
Why describe a small painting exhibition in such a circuitous manner you ask, in a hypothetical scenario. Could it be that description perhaps, itself is the theme? Here we all believe that there are laws and regulations. I say to you, as the saying goes: You who want across the border; you must try to look inconspicuous as you pass through customs, but if they have dogs they will probably find you out regardless.
-Eirik Senje, 2012