A Constructed World

Second Last Second Chance

4 February 2009 - 28 February 2009

The references were too insignificant or too ridiculous to allow me to draw any conclusions, but at the same time they were too anomalous to ignore.

Gomorrah, Roberto Saviano, 2007


Using moving links between different places, technologies and layers and clusters of knowledge A Constructed World work to make a place for what is missing, forgotten or lost.

As the shared unifying notions of being together have dissolved ACW have increasingly looked towards absence as a binding space. Just as music, love, concern, hospitality, cooking and conversation are important means of aligning ourselves with others, by documenting loss other social potentials are made to exist.
 
In recent times economic forces have incorporated absence, promoting weight loss products after excessive consumption or ecological renewal after abuse of the habitat. Loss and what-is-missing have become dubious and certain products. Absence begins to represent economic exchange as both the major way we recognise ourselves and its incapacity to lead us to do so.
 
ACW’s works over the last years have continued to examine different means of absence: Explaining contemporary art to live eels, exploring the unmapped life cycle of eels through aquatic environments and invitations to guest speakers; Suicide Shrine, an installation that collects contributions; pictures, texts, notes and songs noting the suicide of loved ones and luminaries; Atheisme Mats, atmospheric room installations and the philosophies of atheism; Help Yourself works about masturbation, subjects of desire and absent objects.

The ambulant research of ACW is like both an exhibition and an archive in motion in that it constantly forces us to make decisions about what we are willing to keep and lose.

In line with their researches into ‘atheism,’ we find a questioning about the possibilities for the present under which vast and diverse collectives might come together in new (and bizarre) ways. Yet what, God knows, would be an atheist prayer? Is art itself such a prayer? To whom or what would an atheist pray? Is an atheist a believer whose true god is art? Is art itself the true God? Or the true God a mistaken work of art? Or, to displace this into another frame of questioning, is atheism the very space today in which the multiplicity of world religions, their diversity, their irreconcilability, can take place? Is atheism the disavowed foundation of political theologies? If ACW propose a question in and of art today, it is something like ‘who or what is the who or what of the we of art?’
 Justin Clemens, Melbourne, December 2008

 

Second Last Second Chance 2009

Installation View
Uplands Gallery, Prahran, Melbourne

Been there done that. I’ve been to Bali too. 2009

Carved Wood, iPod touch, headphones, plastic mats, blue tarpaulin
dimensions variable

Le Feu Scrupuleux 2008

acrylic box, balsa wood, cardboard, spaghetti, ash
10.5 x 47 x 12.5cm

Le Feu Scrupuleux 2008

Plastic skull, dvd
16 x 16 x 16 cm aprox

Second Last Second Chance 2009

Installation detail
Uplands Gallery, Prahran, Melbourne

(Left) Costracted World Plate 2006/07 (Right) Mirror Man 2009 2009

(plates) Melamine, permanent marker pen, glue, 21cm diameter, multiple of 100
(mirror man) color photograph, mirrors, speakers, mp3 player, timber frame, 114.0 x 57.5 cm

ACW Artist talk 2009

Le Feu Scrupuleux 2008

large format ink jet print on paper, ash. cardboard, acrylic, cotton tape
96.0 x 117.0 cm