![]() ![]() ![]() It commemorates the speculative death of a human subject ( à la post-humanism) – also evoked by two plinths each housing a 3D-printed scan of a proto-humanoid skull. The white funerary wreath ( Untitled, all works 2014) that hung on a tripod in the first room of Si-Qin’s exhibition ‘Premier Machinic Funerary: Part II’ was dually apt. Si-Qin’s sleek, iconoclastic objects have been alternately celebrated and derided for their apparent artlessness: both in the sense that the works lack ‘art’, doing away with aesthetic principles in favour of commercial and evolutionary mantras, and in the apparent sincerity or guilelessness with which this is done. Timur Si-Qin’s sculptures have, for the past few years, stemmed from a consistent, prolonged and generally reasonable conflation of radical biological and evolutionary theory, commercial and retail visual tropes, and state-of-the-art technologies of production and display. Timur Si-Qin, ‘Premier Machinic Funerary: Part II’, 2014, installation view ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |