HILARY KOOB-SASSEN Koob-Sassen’s technically-intensive hand-production of wrought and reduced marble and steel sculpture tests physical models of culture in time. In May 2014, he completed the three-year set-up and production of XYZ TELEONOMY, a monumental phrase of color- and form-coded sculpture. As a Syntactical Elaborationist Koob-Sassen builds complexity in manageable units whose physics, form and structure accommodate inclusion in a larger phrase or ecology of meaning. The phrase of XYZ TELEONOMY can be disassembled into its constituent sculptural utterances, but for now it exists in HKS’s studio as an elaborate set of systems scaled and arranged to immerse the reader’s body as both cipher and subject. The sculpture speaks in the universal ancestral language of physical metaphor to inspire an experience of operational immanence in a garden of systems. Using the organs of the body as an analogy for an ideal arrangement of world infrastructures, Koob-Sassen assembles names from the terrains of aesthetics, economics, biology and philosophy to bridge the analogic gap. Introduced to the public during the Manifesto Marathon and a residency and installation at the Serpentine Gallery in 2009, three physical metaphors saturate the ecology of Koob-Sassen’s forms: FRANKENSTEIN, THE SYNTAX OCTOPUS and FILLETVILLE are the hero, chorus and theatre of the transcalar drama his work poetically propagandizes. Hilary Koob-Sassen’s book XYZ TELEONOMY: the accumulation of realism, diagrammatically unpacks these three physical metaphors into econometrics whose X, Y and Z elaborate time in the same way that length, height and width elaborate space. The book XYZ TELEONOMY formalizes the cross-saturation of topos and telos in the evidential structures produced by life in time, lyrically theorizing a biological ontology of culture. The life-furthering raison d’être of culture’s voracity and the mechanistic ubiquity of its collapse also lace HKS’s ten years of music making with cellist and producer Andreas Köhler as THE ERRORISTS. The songs of THE ERRORISTS—and the videos they narrate—present as reality-fictions that engineer entry-points into a new culture story from the data, events and conditions of a global human culture teetering between collapse and renaissance. By seeking traction in specific geopolitical realities the works expand the ontology of art to include an error-producing function for global human culture. In his videos and his ongoing project to design and introduce a new type of investment vehicle, Koob-Sassen proposes the population of artificial frontiers like the web and derivatives with magnificent life-furthering forms beyond the viral slurry now dominant in those abstract geographies. Koob-Sassen’s work scintillates between the utter sincerity of its processes and the philosophic jest that is a prerequisite to its quest to shape the metabolic momentums of contemporary global systems into trajectories that unconceal beautiful new aspects of Life’s ontology. HILARY KOOB-SASSEN 1975 –New York, US, lives in London, UK Education BA Yale University Awards/Shortlists 2013 –Transcalar Investment Vehicles receives the EMAF Award at its premiere 2011 – Film London, Flamin production grant 2011 – Short-list for the Jarman Award 2010 – Short-list for the Tanner Sculpture Prize 2005 – Short-list for the ZKM Medien Kunst Preis 1997 – Sudler Prize, Yale University Residencies 2011 –Wysing Arts Center, Cambridgeshire, The Institute of Beyond 2011, 2007, 2003 - ZKM, Karlsruhe, Germany 2009 – The Serpentine Gallery, London Selected Solo Exhibitions 2012 – Whitechapel Gallery, London, Transcalar Investment Vehicles preview screening, Q&A with Stuart Comer 2009 – Serpentine Gallery, London, The Syntax Octopus 2009 – Sketch Gallery, London, The Errorists: Faith In Infrastructure, curated by Victoria Brooks, 2007 – T1+2 Gallery, London, Gaia Made It Popular, And Now The Errorists Are Here With New Vernacular Selected Group Exhibitions 2014 – British Film Institute London Film Festival, UK premiere of Transcalar Investment Vehicles (50 min) 2014 –Tate Britain, Assembly screening of Faith In Infrastructure 2014 – Japanese Media Art Festival, Tokyo, Japan, Transcalar Investment Vehicles jury selection 2013– Wurttemburgischer Kunstverein, Stuttgart, Everything Happens on the Surface, curated by Katrin Mundt 2013 - European Media Art Festival, EMAF Award 2013 - New Museum Ideas City Festival, New York, outdoor screening of Faith In Infrastructure 2012 - Camberwell College, The Indifference of Objects, curated by Florian Roitmeyer, steel sculpture, 2012 - Camden Arts Center, London, curated by Gina Buenfeld, The Errorists present A Syntax Octopus at the Axes of Pattern and Phrase, concert with sculpture, 2012 - Banner Repeater, London, Diagramatic Form, curaated by Ami Clarke, Ontological Narrativity video installation 2012 – Wysing Arts Centre, Cambridgeshire, Mannerist Bollards permanent installation of outdoor steel sculpture 2011 – Whitechapel Gallery, London, Jarman Award Shortlist Exhibition, Noblese Oblige, LSD and Atomic Power in Transcalar Investment Vehicles, 2011 – Faith in Exponential, More Soup and Tart, curated by Rosie Cooper, Barbican Theatre, London 2011 – Circa Projects, Newcastle, Seeing in the Dark, curated by Sam Watson, Adam Phillips and Steven Ball, Noblese Oblige, LSD and Atomic Power in Transcalar Investment Vehicles 2011 –Barbican Art Gallery, London, Narration Strategy with 7 Harps, part of Sounds & Words, curated by Rosie Cooper, 2011 – Cabaret Voltaire, Zurich, Merz World: Yona Friedman & Tomas Saraceno, curated by Adrain Nutz and Maurizio Bortolotti 2011 – Digital Art Centre,Taipei, Taiwan, New Narrative, curated by Ada Kai-Ting Yang 2010 –Wysing Arts Center, Cambridgeshire, The Errorists: Gardener’s Songs, concert, part of Be Glad The Song Has No End, curated by Andy Holden 2010 – Espace Doll, Lausanne, Switzerland, The Errorists: Chansons De Jardinage concert 2009 – Beijing Film Academy, China, Zaim Artspace Yokohama, Japan, Faith In Infrastructure, Transverse, IDA Projects, curated by Stephen Danzig and Lubi Thomas, 2009 – Athens Biennale, Heaven, curated by Diana Baldon, Greece 2008 – Serpentine Gallery, London, Manifesto Marathon, curated by Hans Ulrich Obrist, An Errorists’ Manifesto 2008 – ZKM, Karlsruhe and Transmediale 08, Berlin, The Errorists: Game Theory: Tit For Tat, Concerts+video 2007 – BFI Southbank, London, New Lands, curated by William Fowler, The Errorists: 3-Name Phrase, screenings and concert with video 2007 – South London Gallery, London, The Weasel: Pop Music and Contemporary Art, curated by Kit Hammonds, Concert 2006 – Steiricher Herbst Festival, Graz, Austria, The Dictionary of War, The Errorists: Conditional Surrender to the City of Gardens 2006 - European Media Art Festival, Osnabruecken, Germany 2006 - Transmediale Festival, Berlin, Germany 2005 – Whitechapel Gallery, London, Lunar, New Work U.K., curated by Stuart Comer 2005 – Kunstverein, Bregenz, Austria, Go Between, curated by Peter Lewis and Wolfgang Fetz, 2005 – Redux Gallery, London, By Proxy, curated by Peter Lewis 2005 - European Media Art Festival, Osnabruecken, Germany 2005 - Transmediale Festival , Berlin, Germany 2003 – TU Architecture Faculty, Delft, Netherlands, The Body In Architecture, The Bioengine screening and Supercellularity sculpture 2000 – Exit Art, New York, NEO, curated by Papo Colo and Jeanette Ingberman, Intuition Triggers 1-56, Sculpture installation with Anna Ehrsam and performances of The BioEngine with Jen Mitas, NYTimes review 1999 – Lombard Fried Gallery, New York, Urban Romantics, curated by Nancy Chaiken, Curated Projects 2011 – Kunsthalle Exnergasse WUK, Vienna, Austria, Songs of the Swamp/ Lieder aus dem Morast, group show curated and designed by HKS with Rosie Cooper, 2004 – The Pattern of the Plans and the Lack of Plan Plan, and Conference Towards a Syntactical Elaborationism, curated by HKS and Rut Blees Luxemburg, T1+2 Artspace, London Catalogues/Books 2012 – Premature Surrender to Systemic Momentum, FR David, Issue #9 2009 – Heaven, 2nd Athens Biennial, For the Straight Way is Lost, Diana Baldon 2009 –-Transmediale 09 Deep North Parcours 2, editor Thomas Munz, 2008 – Faith In Infrastructure: an Errorist Manifesto, Manifesto Marathon Book, Serpentine Gallery, editor Hans Ulrich Obrist 2006 – Conditional Surrender To The City Of The Gardens, Dictionary of War, Merve Verlag, editor Florian Schneider 2006 – Poster “Design Competition for a World Subway System”, Zeitschrift Magazine, Tiffany Issue, Austria 2005 –The Elaboration of Culture is towards M.T.I.E, Go Between, Kunstverein, Bregenz, Austria Publications 2009 – Faith in Infrastructure: an Errorist Manifesto, The Reader, Guestroom, London 2005 – The Errorists: Delightfully Unfascistic on the Inside, song on CD curated by Tobias Meyer and Anna Collins, Static Commotion, Issue #4, Guestroom, London 2002 –The Body of Institutional Pivots and Living Potential, The Body in Architecture, TU Delft Faculty Magazine, Netherlands
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