Semiopaque

Liza Eurich and Tegan Moore
G Gallery

Opening reception: Thursday, May 12th 2016, 6-8pm
Accompanying text: Momentary Arrest by Karina Irvine
Accompanying screening by Karina Irvine: June 18 2016, 8:30pm

In order for cultural commodities to function expediently, legibility and transparency act as a conduit that permits these items to reach an expanded audience, whereby clarity ensures that meaning is directly and immediately translatable. As a result, these strategies widen the scope of commodities and simultaneously allow for ease of consumption. This facilitates the logic of capital and promotes an ever-expanding marketplace.1

Things that prefer to be quiet. Things that refuse to be visible.

Semiopaque considers the implications that arise from the act of producing works imbued with a deliberate characteristic of reticence. Latency is not a refusal; it does not mark immobility or illegibility, but rather it functions as a site of contestation.2 Reticence can work both within and beneath a system of inquiry, producing meaning through an intentional restraining of one’s own actions. The self-limiting quality of the quiet or hidden object can allow it to elicit unexpected defiance, affecting and exposing the fragility of expectations. Muffled audibility and blurred visibility requires attentiveness in order to hear or a straining in order to see. The self-reflexive nature of these strategies provides an avenue to critique the demands of consumerism and high performance culture.

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1 Adorno, Theodor. “Culture Industry Reconsidered.” In The Culture Industry: Selected Essays on Mass Culture, edited by J. M. Bernstein,
98-106. New York, New York: Routledge, 2001.
2 Verwoert, Jan. “Exhaustion and Exuberance: Ways to Defy the Pressure to Perform.” In Art Sheffield 08: Yes No and Other Options, 89-112.
Sheffield, UK: Sheffield Contemporary Art Forum, 2008.

PHOTO CREDIT: Colin Miner
VIDEO DOCUMENTATION is on VIMEO