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this show is about
everyday
nowww.things:
neoncolors
multiples
words that format monitors
docks ports and typesizes
the slots that keys
sink into
and the paint that
sticks.
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888 d8b
888 Y8P
888
888 .d88b. .d88b. 888 88888b.
888 d88""88b d88P"88b 888 888 "88b
888 888 888 888 888 888 888 888
888 Y88..88P Y88b 888 888 888 888
888 "Y88P" "Y88888 888 888 888
888
############ Y8b d88P ############
############# "Y88P" #############
##################################
# #
# 10/07/04 - 10/29/04 #
# opening + reception: #
# thurs.oct.07.2004 #
# 4-6pm @ LG Space #
# #
##################################
# #
# curator = anya meksin #
# paintings = e.v.meksin #
# installations = e.v.meksin #
# soundEngineer = cesar davila- #
# irizarry #
# #
# log in #
# to return #
# #
# shift control:// #
# spacebar #
# forget your password? #
# use your name #
# Bcc the network #
# #
##################################
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Review of the Show
Images from the Gallery
Gallery Floor Plan
Announcement (pdf)
Poster (pdf)
Curatorial Statement
Slide Sheet
Credits
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CURATORIAL STATEMENT
LOGIN continues E.V. Meksin's exploration of word as image by focusing on the words of computers, which appear as buttons on our keyboards and screens: escape, shift, control, enter, load, link, return, search, help, support, reply, attach, end, eject…. The omnipresence of computers has given each of these words a highly useful clickable meaning, and yet as a group, these words function to tell the story of our plugged-in condition. Meksin frequently puns on this tension in the content of the displayed work, while also actively pursuing a second dichotomy through the work's physical qualities: in depicting a world that is of necessity sparse and sterile (no fluids near computers are allowed), Meksin employs sensual, thickly applied paint in many colors and textures. The resulting aesthetic allows us to glimpse the mysterious code that drives our modern religion.
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Anya Meksin
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SLIDE SHEET
Please click here to view the gallery floor plan |
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1 | |
language
38 x 48 inches, Acrylic on panel, 2004 |
2 | |
loading
10 x 12.5 inches, acrylic and plastic collage on mat board, pasted on wood, 2004 |
3 | |
stutter code loading
installation with 30 acrylic painted 8.5 x 2 inch wood blocks, with plastic collage, 2004 |
4 | |
equipment
installation with acrylic painted computers, keyboards and game equipment, 2004
audio and video: c. Davila-Irizarry, a. Meksin, e.v. Meksin |
5 | |
g-stop: dyslexic signal
octagon, 12.5 inch sides, acrylic and rhoplex on panel,
acrylic on game-gun, 2004
audio: c. Davila-Irizarry, a. Meksin, e.v. Meksin
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6 | |
username password powerlines
installation with 500 acrylic painted wood blocks, dimension varied, 2004
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7 | |
till slit is lit it tills silt
38 x 48 inches, acrylic and rhoplex on panel, acrylic and plastic collage on computer keyboard, 2004
audio: c. Davila-Irizarry, a. Meksin, e.v. Meksin
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8 | |
command trilogy: submit, recycle, trash
3 12 x 12 inch panels, acrylic on panel, 2004
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9 | |
running
8 x 10 inches, acrylic and plastic collage on mat board, pasted on wood, 2004
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10 | |
run, load, enter
30 x 30 inches, acrylic and rhoplex on panel, 2004
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11 | |
asterisk & remainder
10.75 x 7.25 inches, acrylic and plastic collage on wood, 2004
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12 | |
BCC
7.25 x 9.5 inches, acrylic and plastic collage on mat board, pasted on wood, 2004
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13 | |
mime format
12 x 12 inches, acrylic and plastic collage on panel, 2004
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14 | |
eject 5
9.25 x 18 inches, acrylic and plastic collage on mat board, pasted on wood, 2004
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15 | |
valves
7.25 x 9.25 inches, acrylic and plastic collage on mat board, pasted on wood, 2004
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16 | |
spacebar 1
9.75 x 18.25 inches, acrylic and plastic collage on mat board, pasted on wood, 2004
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17 | |
spacebar 2
11 x 15.5 inches, acrylic and plastic collage on mat board, pasted on wood, 2004
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18 | |
spacebar 5
11.5 x 15.5 inches, acrylic and plastic collage on mat board, pasted on wood, 2004
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19 | |
eject
34 x 56 inches, acrylic and rhoplex on panel, acrylic on game equipment, 2004
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CREDITS
I would like to thank the indispensable crew:
Kathryn Lofton, the tireless enabler
Anya Meksin, the most insightful director
Esther Meksin, the no nonsense supporter
Jen Robinson, my match
I would also like to thank César D?ila Irizarry for sharing his amazing skills and talent to help with the audio; Becky Shore, for being such a perceptive mentor; Jason Earle, Mai Vukcevich, Helen Lee, Nate Berkebile, Victor Meksin, Misha Meksin, Elena Yatzeck, Julie Yagle, Jennie Yahirun, Andrea Carey and Sam Yount for their comments and feedback on the work in progress, for painting blocks, keyboards and walls, for allowing me to deface their joysticks and borrow their diskmen; The Chapin Hall Center and NSIT at the University of Chicago for donating equipment for my cruel purposes; Deanna Rooney for her hard work on the installation; Keith Hendrix from CRIT and Craig Downs from the Media Center for their support.
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