Spinello Projects presents Still and Moving Lines of Silence, a selection of works by Sinisa Kukec, Manny Prieres, and Naama Tsabar.
Sinisa Kukec harbors a profound curiosity towards gravity, indeterminacy, the elusive nature of consciousness and how their mysterious behaviors affect our place in the universe. In his own words, his work 'cast(s) pataphysical doubt on the skewed belief systems of the masses... an 'inductive' approach, an attempt not to reinvent how and what humans believe in... But rather to think and feel beyond the perversion of trickle down ideology’. Kukec presents a new series entitled ‘I Need America Needs Me (The Empire Never Ended) - Flat Maps’. Twelve individual wooden panels hold fields of color (acrylic with resin) imprinted with the ringed vibrations made by a pottery wheel. The color fields appear highly reflective, almost lacquered, with internal dynamics resembling that of cosmic nebulae. The fine rings made by the pottery wheel reference the type of circular ‘maps’ used by cartographers (who chart both landmasses and the expanses of deep space). Whether the cartographer charts land or space, he (or she) can never truly “own” it. This folly has been experienced since The Age of Exploration, with Conquistadors and the great Navigators, “claiming” lands they didn’t know for people in a faraway place who would never go there, themselves. Specific to the work’s title is the aggressive nature of the modern American approach towards international policing and asset control.
An adjacent wall holds a suite by Manny Prieres: the cover sleeves of vinyl records, rendered in tones of black and silver on paper. These standing sculptures (which, in fact, are drawings) will line an actual set of record shelves. The sleeves include titles from Leonard Cohen, Black Sabbath, and Max Roach; a testament to Prieres's continuous investigations into music of the late 70s cultural underground. They are defiant, impassioned, and restless, with the covers, themselves, communicating the same turbulence as the musical content.
Lining another wall of the booth are two works from Tsabar: Study for a Microphone and Study for an Instrument Cable from her ‘Gaffer Tape’ series. The material (used to facilitate a live concert or gig), for Tsabar, is transformed from a hidden, utilitarian device into an aesthetic medium. She creates empty reliefs from sections of floors imprinted by an assortment of cables and microphones. Gaffer tape is the skin for these ‘organs’, sealing the specific arrangement which is moved from the floor to the wall. The tape takes on a representational role versus a functional one, petrifying a live moment. Live performance is sublimated into a sculptural object, divorced from its source, now alluding to a visceral, erotic landscape.
These works explore the physical and metaphoric traces of music and sound, effectively capturing the simmering vibrations of live performance. Dynamic but physically silenced, these works nod to minimalist and avant-garde composers, such as Alvin Lucier’s work of the same title.