em/bedded mass - phenomenology of substance

The show em/bedded .

There will be antennas and field telephones. The large room will be all []
There would be a small tent in the large room, possibly, off-kilter,
conncted to a tent in the small room. I'm not sure yet about the Trolley
Car. We want to put video in there, there are places to sit. It's like an
underground. One possibility that would work - just field telephone calls
[] Leslie work opens up into spaces that my work tends to close down. We
share a sense of imminent catastrophe, as well as, to be honest, brilliant
imagery, seductive even in its deadliness. [] In the small room, we will
have memorabilia collections, whatever we can send across. These include
photographs of Iwo Jima from Azure's grandfather (on the ground), a
battle-map of Iwo Jima on site, things [] I want VLF radio somehow present
- I'm not sure about this. I can bring or send the radios out; we can see
what we might pick up around Bergamot, and to save batteries, we might as
well tape the stuff and have it play from a cd player or some such. I want
to possibly erect a signal kite in the central space with an antenna wire
coming down - we might actually be able [] The VLF radio relates to the
'primordial' of life, to actual fundamental particles themselves, to the
resonances of particular spaces. The videos relate to histories, memories,
sexualities, pleasures, absences, presences. The more we have going the
better. We need to check on the []

every one a murderer * original photographs of world war two battleships *
stereograms of world war one trenches and bodies * original photographs of
world war two pacific fighting * stereograms of world war one technology *
world war one will now be abbreviated wwi * world war two will now be
abbreviated wwii * original photographs and other papers taken from wwii
japanese dead * a top secret wwii map of the iwo jima battlefield from the
battlefield * projections of torn avatars over furiously moving dancers *
projections of dismembered avatars over propellers and gratings * nomadic
tent located on the hardened gallery floor full-sized with video within *
one to three half-tents with field telephone/s within (see below) * a
small photograph of a japanese wwii fleet presumably near yokohama *
murmured texts played back from scattered monitors hardly organized or
present in space of every one a murderer

[] MIAOU []

* with the uttermost beauty of human beings there is no rest here and here
in this space * static images of dismembered avatar imaginaries torn into
uncanny beauty and troubling poses * dark spaces of rattling building
vibrations sublated to aural frequencies of the human organism they are
here * dark crackles of very low frequency radio trembling in the presence
of human bodies auroras lightning decay of particles across the cosmos
near and far */set up with antenna in main room perhaps speakers in back
room - but on/off switching absolutely necessary - perhaps VLF radio with
recorded sound/* * i am so ashamed i cried when i saw these images written
large somewhere in the vicinity of wwi and wwii * the 1895 telegraph
receiver mounted in the antique trolley car clacking away and
electronically echoed from sourceless speakers sounds and presence of
ghosts */may or may not be possible depending on cost and consruction
skill/* * the this of this is you and the you in this splayed space *
space of ionizations ionized air recorded space of radium decays * space
of furious nighttime guitars garcia lorca spanish civil war * space of
inscribing of inscriptions of the last inscriptions of soldiers dying and
all memories lost recuperations of names and translations from foreign
tongues * the evanescence of horror in the absence of horror naming horror
in its very absence * every i is murderer every i makes love

The tents in the outer room are half-tents, partially attached to the
framework of the building, partially floating. They are as nomadic as
signifiers, language flushed out of its lair. But the tents are real,
canvas; an air of depression hangs over then, a fog. They are in the midst
of an image storm, a continuous splay, spew, emission, of violence,
sexuality, cloned grotesques, the crackling of radio, electricity. The
work occurs in the far future - mutations, extinctions, broken spaces of
information. The work occurs in the past - organisms huddled as if
protected against the fury of the world, primitive electrical machines
tuned into atmosphere and universe. The distorted bodies are our own of
course, in the present, of course. The work offers no solution - there
isn't any - but presents a distorted beauty of its own. The field
telephones connect the tents in the smaller and larger room. The kite
connects the tent in the outer room to the atmosphere. The tents in the
outer room are splayed, dysfunctional, as if attempting, and failing, to
rise form the ground. The tent in the inner room is home to images, to a
space of looking, watching. The tents are WWII tents, resonant with the
materials in the smaller room, with the video and tent of Leslie Thornton.
Think of the in both rooms as along a sightline, faultline. HELLO HELLO.

[] MIAOU []