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PR: "Some might say that a dollhouse is an expression of scale. It is a domestic monument and an architecture of absolute control."
Which CAWD previously: "So artistic turns to dolls and miniatures and virtuality makes symptomatic sense: an expression of a need for control over a world we increasingly do not. There is a dissonance between our interior worlds which we find virtual and beholden to our godlike control of a drag/drop materiality conjuring sex in our glass or products from its depths. Digital desires that the physical world increasingly doesn't reflect. The model allows the physical world marionette to an invisible hand in which we trust."
"The Model becomes predominate as the world's point of scale becomes unmoored, and reality floating between the virtual and material conditions abstracted by floating points of enumeration etc. etc. The model encapsulates this world governed by virtual features, the planning, projected statistical everything, abstraction of everyday. Looking down at our hands the sphere of the earth is said to be at our fingertips. This abstraction feels lived in."
There is here though a clever inversion with the documentation, which turns the virtual plane, model, CAD, into an ouroboros en abyme. We float. We all float in here.
See to: Mathis Altmann at Halle für Kunst Lüneburg, Mathis Altmann at Freedman Fitzpatrick, Gina Folly at Ermes-Ermes,
See to: Mathis Altmann at Halle für Kunst Lüneburg, Mathis Altmann at Freedman Fitzpatrick, Gina Folly at Ermes-Ermes,
