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Posts in Solo exhibtion

Bridge Time
Exhibition Essay by Carolyn L. Kane


Rg. 73, Rage, (Feelings and Emotions Chart), Polished urethane on canvas, 58 X 121 inches

These days no one has time to wait. Spare seconds, minutes, let alone half-hours and 45-minute sessions have become increasingly expensive in our high-speed, high-resolution, pay-per-download Wi-Fi culture. Everything must be NOW or it risks being at all. At least this is the ideology ushered in through e-commerce, mass media, and corporate capital.

But bridge time does exist. This is the in-between time that stitches together those almost imperceptible instants and forgotten thresholds of passing, segues, and crossovers. In the human world, bridge time is walking across the office, crossing the street, or waiting for someone to answer your call. In the world of computing, bridge time involves downloading, processing, saving, storing, encoding and decoding, transmission, and mass dissemination. In fact, there is a significantly grotesque amount of bridge time in the world of “high-speed” computation. Hi-tech industry may not want us to take much notice of the ubiquity of these in-between states, but they are there, and they are also the key to developing a richer understanding of ourselves and the culture we live in.

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Post-Post Script
Solo Exhibition at the Patricia and Phillip Frost Art Museum


 

Tablet 9, Hand engraved text on nickel plated and mirror polished aluminum plate, 39 X 32 inches

 

Michael Genovese presents Post-Post Scriptum, the second exhibition in a series of work created during his one-year visiting artist tenure at the Frost Art Museum and Florida International University. This body of work is an interpretation of the archived information, research, and development accumulated over the past year, when Genovese studied the social commentary and drawings collected on campus and the surrounding area, through his P.S. Project (2008-12). The information gathered was designated into 16 various subjects, including: Faith, Stereotypes, and Existentialism, to capture the zeitgeist of students during a time of change. The text was then transcribed and translated into different languages, archived in an on-line repository, which was created in collaboration with the Frost Art Museum.

In this exhibition, Genovese reintroduces the information by performing as a scribe. The text is meticulously hand-engraved, using a codex designed by the artist, onto mirror polished plates of aluminum, electroplated and cut into shapes referencing relics of early civilizations from 196 B.C. and the 12th century. The shapes recall the Rosetta Stone and the Seven Tablets of Creation, but rather than the original decrees or sacred texts incised on the surface, Genovese’s inscriptions reveal the social commentary of today. Quotes such as: "Not all brown people are terrorists," or "God. Has. Forgotten. Me," reveal an intimate dialogue that marks our moment in history. The other work in the exhibition include vitrines arranged with documents of the transcriptions, photographic prints of scans and screen shots culled from the internet, collaged images, and a wall relief (Mimesis, 2012), which is a polished steel fissure that combines a tracing of a sidewalk crack found on campus and a line from a fractured fresco found in a photo of Pompeii. Curated by Klaudio Rodriguez

 Mimesis, Installation view at PPS

Mimesis, Installation view at PPS