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'All As Long Distance Neighbours' at SOYUZ, Pescara

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In statistics, the notion of Dispersion denotes the extent to which a distribution is stretched. 

Standard Deviation is the most commonly used measure of dispersion and it plays a key role also in the explanation of some physical phenomena, such as - in accordance with the Fluctuation theory - the reason why the sky is blue.

Dispersion is also a distance measure basically by contrast with location or central tendency and when it manifests itself through a perspective of non-coincidence, it figuratively takes on the meaning of proximal presence. Along these lines, it can be also translated into our collective life experience in a way that legitimises its truth as strategy of being in the world.

This dispersion tendency belongs to our modernity as a way that captures the paradoxes of our time and the risk of a collective alienation. The rich potential provided by the digital tools, that make communication accessible to the multitude without the use of the body, generates new forms of closeness in which inner and outer, self and other, are constantly subverted. Therefore, much of the power and meaning of this kind of togetherness owes its existence to something that is de facto absent.

Recalling Bahuman, it is safe to say that the easiness of the connections has changed the experience of social space to such an extent that it is no longer defined by a territorial proximity, but rather, on the contrary, by the innate and human inclination to secure our own borders. The alteration of the social space notion also drags the mutation of the experience of time. It follows an immersion into the present that leaves behind the experience of the duration itself. 

Far from that kind of active presence to the mankind affairs assumed by McLuhan,  it is possible to recognise that the participation in a narrow sense has been replaced by its digital simulacrum, generating a kind of social cohesion that finds its very substance into its own reproduction.

The exasperation of such dynamics has fabricated a new age of narcissism which, making a self-centred human being so socially acceptable, easily ends up falling into a form of social competition: we perceive ourselves as dissociated from "the other" and Self-determination appears the only value and the exclusive criterion of every other determination.

25.2.17 — 21.3.17

Hanae Wilke, Vivien Zhang, Peter Mohall graphics & sound by Norman Orro / MUSIC FOR YOUR PLANTS

Curated by Marialuisa Pastò

SOYUZ

'Old Sun, New Sun', Group Show Curated by Andrew Sung Taek Ingersoll at Et al., S

'The Houses Of The Serpent Bearer. The 9th House' by Mónica Mays & Flora Yin-Wong

'Dream Archipelago', Group Show Curated by Sergey Guskov at Smena, Kazan

'Eternal Flame', Group Show at Shore, Vienna

'Cosmovisions', Group Show at Medusa Offspace, Brussels

'No Time To Explain' by Paul Robas at Solito, Naples

'Night Rider' by Yan Posadsky at Devyatnadtsat’, Moscow

'Funding Emotions' by Magnus Frederik Clausen and Kaare Ruud at Cantina, Aarhus

'What I felt for you was love', Group Show at Afternoon Projects, Vancouver

'Mirror Stage' by Bora Akinciturk and Ella Fleck at Shipton, London

‘Millions Now Living Will Never Die!’ by Ian Swanson at Plague Space, Krasnodar

'VEGAN' by Jack Jubb at house of spouse, Vienna

'Fresh Hell' by Jonah Pontzer at Rose Easton, London

'It's quite like Guggenheim', Group Show at Ringcenter 1, Berlin

'OUTER DARKNESS', Off-Site Project by Allyson Packer in 1698 GALISTEO, SANTA FE

'mareas' by Elizabeth Burmann at Galeria Patricia Ready, Santiago

'Vape Cloud Premonition' by Sam Hutchinson at Forth, Nottingham

'Punch-Drunk' by Yutaro Ishikawa at LAID BUG, Tokyo

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