Juliet Carpenter: 真理之味/未来是一个死胡同

A taste for truth/the future is a cul de sac

Artist: Juliet Carpenter
Date: June 28th 4pm-6pm, 2017
Location:Banqiao Hutong 10

此次阅读/行为表演来自

Juliet Carpenter
Cameron Ah Loo-Matamua
王竹馨Zhuxin Wang
阿科Ah Ke

Juliet Carpenter is I: project space´s current resident. The residency is made possible by Asia New Zealand Art Foundation.

The inherent association of plot with narrative and narration is but a common misunderstanding of the original definition of plot, a late-medieval concept suggesting a patch of earth or nature separated by the artist or the craftsman as the core of their work. For medieval and renaissance cultures, the separation of the plot from its matrix was, however, never considered full and complete. The plot was identified as an access point to the pervasive and obscure beyond from which artifacts were extracted. Far from being a vehicle of narration, the plot was considered to be an anonymous germ of this pervasive beyond, capable of bringing into focus the invisible workings of the unbound plane and unfolding it’s lingering influences in the human sphere.*

‘But as with allwell-compensated prophecy, trend forecasting isn’t about seeing the future, not really; it’s about identifying collective anxieties about the future operating in the present.’ **

A taste for truth/the future is a cul de sac is a reading/screening meditating on ideas of voice in the immediate or near future.

How can one imagine their own self/ves/voice or future in an era of post truth. If the task of producing oneself/ves lies in affirmation from external plots then seeing a path forward is a complicated site of interrogation in this current day Beijing, and China is an apt location to discuss such topic because of the various ways entanglement and ideas of the future exist here.

Unique cultures of innovation (shanzhai), categories for complexity (androgyny)and a general thirst for the near future (olympics 2022)

  • Negarestani, Reza: Darwining the Blue. In: Rosenkranz,Pamela, et al (ed.): No Core. Zurich 2012, pp. 128-143.
    ** Yago, Dena: On Ketamine and Added Value. In: e-fluxjournal #82, May 2017.

About the artists

Juliet Carpenter is an artist from New Zealand who works predominantly in video and animation. Her is concerned with the dramaturgy of contemporary selfhood and the material and technical parameters of video.
Recent works have focussed on how the bio political female body is constructed through film and how technologies of nature and industry effect the theatre of personhood through language. Entities in her works are often constituted by a multiplicity of surfaces - AI generated scripts, open source 3d models, sampled poetry and her own video and writing. Carpenter strives to share agency in the production of these videos - often collaborating with other artists and writers.

Juliet studied at the Elam School of Fine Arts in Auckland, New Zealand where she finished in 2013. Since then she has been working as a software developer and exhibiting regularly in New Zealand and Australia.

This project is supported by
Asia New Zealand Foundation

艺术家: Juliet Carpenter
时间: 2017年6月28日下午4-6点
地点: 板桥胡同10号

readings/performances from

Juliet Carpenter
Cameron Ah Loo-Matamua
王竹馨Zhuxin Wang
阿科Ah Ke

Juliet Carpenter是目前在I: project space驻留的艺术家,她将在北京驻留至七月初。

在故事性情节和故事这二者间,存在着基于一个常见误区的内在关联,即情节的根源定义。情节的概念诞生在中世纪末期,指艺术家、匠人通过其作品核心来修补大地或自然的断带。中世纪和文艺复兴的文化里,已经过攀升-高潮-下落的情节却并非完成态。由情节通往的是更加普遍而浑沌的宏大景观,那景观只有分毫能被人为提取。情节又绝不仅是故事的载体,它是那宏大景观的一个无名胚芽。它有足够的能量将人不可及的更高维度中,所发生的不可见物拉入人的视线,甚至徐徐展露该维度对人世的隐约影响。*

“但正如所有做出优渥承诺的那些预言,对风潮的预测并不是真的在于看见未来;它是在确认一种关于未来而却发生在当下的共同焦虑。”**

“真理之味/未来是一个死胡同” 是一次探讨关于(极)近未来的阅读会/放映会。

人如何在后真理时代想象ta自己/ta的声音/ta的未来。如果自我的生成必须得到外界情节的认可,那么当下的瞻前目光势必是复杂的问询
北京,和整个中国,都因有着复杂交织的议题及对未来的观念而成为这类话题的合适讨论地点。

独特的创新文化(山寨),复杂系统的分类(双性一体)以及一种对近未来的饥渴(2022奥运)

  • Negarestani, Reza: Darwining the Blue. In: Rosenkranz,Pamela, et al (ed.): No Core. Zurich 2012, pp. 128-143.
    ** Yago, Dena: On Ketamine and Added Value. In: e-fluxjournal #82, May 2017.

关于艺术家

Juliet Carpenter是一位来自新西兰的视频和动画艺术家。她的作品主要关注人的自我在当代的戏剧呈现,以及视频媒介的物质系数与技术系数。
女性身体的生理政治在电影中的构成是她近期作品的议题,同时还有自然科技、工业科技是如何从语言层面影响着人格的戏剧化展露。在她视频作品中的形态都有着多层次构成——从电脑生成的脚本、开源3D模型、节选诗歌,到她自己的视频和写作。她尽可能地让更多方加入到这些视频的创作中,因而常常与其他艺术家、作家合作。
Juliet Carpenter 2013年毕业于新西兰奥克兰市的Elam School of Fine Arts。自那时起,她便以软件开发者的身份工作着,同时也活跃于新西兰和澳大利亚艺术现场。

项目支持
Asia New Zealand Foundation

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