RSVP | ASAP | RIP
Lisa Kotoulas
1 – 18 June 2017
opening Wednesday 31 May, 6 – 8 pm
Not unlike many children of the 80’s, I would spend hours flicking through colourful books depicting topics of vibrant ancient worlds, the mysterious deep oceans and mind-blowing material of outer space. Reliably, The Child craft Encyclopaedia offered boundless topics to get lost in. From volumes on How Things Work to Who We Are, an unlimited freedom of immersive learning was conveniently available to sink into.
The exhibition RSVP, ASAP, RIP represents and interruption of this magical time. It serves as a mockery of facts and highlights the insignificance of it all (that being knowledge).
Whilst the art work displays a conglomeration of historical ideas, figures and abstractions, a sense of doubt prevails. The chronological world is represented fictitiously and questions of truths dominate. The immense transformations within art, religion and science (as we know them) are so great it becomes difficult to make any cohesive decisions of what we believe to be of any importance. The brush strokes, the subject matter, the installations represent a confusion of all these ideas and present a collusion of time. A celebration of knowledge turns somber as the concept of truth abruptly ends.
My personal experience in the Half Life of Knowledge* may have started prior to knowing what this even was. In a lifetime we learn things, things are disproven and so we relearn. I question whether knowing anything at all even matters (and whether this work is significant at all). I challenge the audience to participate in their own investigation of personal truths by choosing (or not) to unravel this exhibition and welcome any discourse.
*Half-life of knowledge is the time it takes for widely accepted knowledge to become obsolete or shown to be wrong.
Images courtesy Document Photography
The exhibition RSVP, ASAP, RIP represents and interruption of this magical time. It serves as a mockery of facts and highlights the insignificance of it all (that being knowledge).
Whilst the art work displays a conglomeration of historical ideas, figures and abstractions, a sense of doubt prevails. The chronological world is represented fictitiously and questions of truths dominate. The immense transformations within art, religion and science (as we know them) are so great it becomes difficult to make any cohesive decisions of what we believe to be of any importance. The brush strokes, the subject matter, the installations represent a confusion of all these ideas and present a collusion of time. A celebration of knowledge turns somber as the concept of truth abruptly ends.
My personal experience in the Half Life of Knowledge* may have started prior to knowing what this even was. In a lifetime we learn things, things are disproven and so we relearn. I question whether knowing anything at all even matters (and whether this work is significant at all). I challenge the audience to participate in their own investigation of personal truths by choosing (or not) to unravel this exhibition and welcome any discourse.
*Half-life of knowledge is the time it takes for widely accepted knowledge to become obsolete or shown to be wrong.
Images courtesy Document Photography