A one-night exhibition that took place on Saturday 14th May 2016 at Studio MDM/CCA in Warsaw, Poland. In collaboration with Edi Danartono.
The exhibition was centered around monotonous rhythms and their ecstatic and energetic effects, starting from the ceremonial dancing of whirling dervishes in Turkey which repetitive chants and spiraling movements aim at spiritual enlightenment. The video ‘Infinite Spin, 2015’, documents these movements and the energy they produce and strips away the (religious and cultural) context, resulting in a hypnotic, dizzying play of light. The video can be seen as a formal trigger for the project, generating abstract links to very different cultural incorporations of self-referential – and even self-effacing, mechanical, subhuman – rhythms. An 18th century etch depicting dervish dancers was presented as a wallpaper, hereby enlarging its architectural and graphic rhythms. The video diptych ‘Lady Glass & Operator’, was screened on 2 monitors on top of the wallpaper, pushing the associations even further: one ‘panel’ shows a revolving transparent sculpture of a cyborg-like human being, produced in Dresden in 1967, which the artist discovered at the Museum of Technology in Warsaw. By the press of a button, an operator activates the rotating artefact and light up different organs in an educational presentation. The mechanical operator on the other panel reminds of Kraftwerk’s ‘Man Machine’.
On the windows of the room, we find a mathematical and repetitive pattern by Edi Danartono, based on a design for pentagonal tiling from 1976 by the housewife and amateur mathematician Marjorie Rice, referring to the stained glass in western churches, but also to islamic tesselation. Further on, these patterns are reflected in two found spirograph drawings made by street vendors in Istanbul. Finally, the elements are linked through music. For the entire duration of the show, Danartono produced minimal repetitive electronic sounds on a drum machine. The artist – a living sculpture on a pedestal as well as an ‘operator’ himself – interacted with the visual and mechanical rhythms of the videos. The exhausting performance thus ties up the installation, which can be seen as an anthropological document of the quest for release in general, but also as a generator of a rhythm and an energy that can release us from ourselves – a mechanism that is paradoxically very human.
more info coming soon