\ˈdā-t#-ˈsent, ˈda- also ˈdä-\
policy of sentiment
[Ex: “Redstone always broke the rules to get what they wanted. Jumping place to place, they trampled anything in their way. Greystone’s life mission was to stop Redstone at all costs- anticipating and preventing their deceptions. Bluestone watched and covertly interfered through their use of the data-scent. Whether Redstone or Greystone, Bluestone would aid or misguide whom they pleased based on the biases of the datascent's trails. The rain used to deter the game- but each player learned to overcome the obstacles of the natural world. Unknown to their attention, Violetstone looked from the shadows placing bets on the emotional turmoil of each player's betrayal and retribution.”]
Johannes Vogt Gallery is pleased to present Data-Scent, a group exhibition featuring Carson Fisk-Vittori, Derek Frech and Alex Ito. Fisk-Vittori, Frech and Ito’s work explore the discrete quality of information embedded in contemporary visual culture. Locations, emotive energy and power are beliedby the comforts displayed in everyday life.
Fisk-Vittori creates a symbolic navigational system with natural and common materials. Sandstone boulders hold water and become the shell for aqueous leaf compasses while stainless steel drains infer potentials for future weather. These navigational tools discuss how nature is harnessed to measure and produce social forecasts.
Frech’s wall bound works are amalgamations of found images and their location metadata. The data, unknowingly left in the source material, is visually encrypted and overlaid on the original image. By bringing the contained data to the forefront of the image Frech questions the importance of image content in contemporary culture.
Ito’s sculptural works utilize the tools and aesthetics of pachinko- a gambling and entertainment empire played in Japan. Although gambling is illegal in Japan, pachinko is openly practiced in large commercial facilities enabled by a series of loopholes. By composing the aesthetic excess of this popular gaming complex with slogans of endearment and good fortune, Ito draws the relationship between capitalist exploitation and leisure activity in contemporary entertainment industries.
Carson Fisk-Vittori (b. 1987, Austin, TX) lives and works in Brooklyn, New York. Solo and two-person projects include Carrie Secrist Gallery and Roots and Culture (Chicago) Important Projects (Oakland) Downtown Photoroom (Los Angeles) and Et Al. (San Francisco). Recent group exhibitions include Composing Rooms (Berlin) Galerie Valentin (Paris) Future Gallery (Berlin) The Luminary (St. Louis) The University of Washington (Seattle) Rod Barton (London) Del Vaz Projects (Los Angeles) Bodega (Philadelphia) NO Space (Mexico City) and The Institute of Contemporary Art (Philadelphia).
Derek Frech (b.1987) lives and works in Brooklyn, New York. Recent solo exhibitions include Actual Size (Los Angeles), Important Projects (Oakland), and Rebekah Templeton Contemporary (Philadelphia). Recent Group exhibitions include, Insitute of Contemporary Art (Portland, ME), Institute of Contemporary Art (Philadelphia), Bodega (Philadelphia), Possible Projects (Philadelphia). He has a forthcoming solo exhibition at
Alex Ito (b. 1991, Los Angeles) lives and works in Brooklyn, New York. Recent solo and two-person exhibitions include SADE Gallery (Los Angeles), Rod Barton (London), Springsteen Gallery (Baltimore) Water McBeer Gallery, Art in General (New York) and Steve Turner Contemporary (Los Angeles). Recent group exhibitions include Museum Dhondt-Dhaenens (Belgium), The Zabludowicz Collection (London), ThreeFourThreeFour (Brooklyn) and Rail Curatorial Projects (Miami). Forthcoming exhibitions include a two-person exhibition at Et Al. (San Francisco) and a solo exhibition with The Still House Group (Brooklyn).