David Blair
Project for Galerie de l’Angle
Sept 16 - Sept 24, 2016

Title:
The Telepathic Place, Season 22:
The Camera Train arrives from Space

In this project, which itself is a Maquette, or Prototype, the Gallery of exhibition is treated as an Scientific and Optical Instrument, a white cube of walls and windows that float in Outer Space, and operate in the 4th Dimension. It is a Narrative Instrument, that is to say that its operation is a story, and its operation also creates a story. This story is the Story of the Telepathic Place, and it also IS the Telepathic Place.

The composition of the Gallery Device is anchored by a signifying object, called the Camera Train [see below, picture to come], and proceeds from there across the 6 principle axes of the cubic space, and the 4 principal diagonals. For the Gallery Device, the window glass is considered as a lens. The operative space of the room is sandwiched between the glass, and the walls/ceiling, and also includes the walls/ceiling, where objects that establish and create the lines of operation are placed..

The Gallery Device is operated by a Lens-person. This job of this Lens-person is to operate all the various simple objects within the gallery, and beyond. The operation of these procedures, which happen outside of the time of the visitor’s visit to the gallery, and yet simultaneous with it, will be described by text or video. This text and video will also show the larger dimensions of the multi-dimensional device, which includes machines that have been created by the French Space Agency, and which float beyond the walls. The operating Lens-human is simultaneously present in those places as well [by text and video].

The Gallery Device has many uses and meanings, as it is a poetic machine. The simplest way to consider it is as a Scientific and Optical Instrument constructed for two principle operations in mind. The first operation is to observe phenomena that have predicted by the famous equation : Telepathy = [Spatial Animation] squared . The second operation, which is an effect of the observation of these phenomena, is to project the Lens-person into another Lens-person, who exists in another place. This recursive projection of the operator of the machine into other people in other places is the action of the Story of the Telepathic Place.

At the Center of the Gallery Device, where all the axes of operation are combined, is is a cubic wooden machine, mounted on large wheels, which has been constructed for the serial presentation of paintings. I call this device the Camera Train. It is modeled on the Fantascope, the projector used in the early 19th C. Fantasmagoria. The wheels are mounted on miniature railroad tracks, connecting the two main walls, parallel to the windows. Paintings are stacked inside this device, ready for simple use by the Lens-person. These paintings are devices. They will be selected from my existing repertoire of 100 Telepathic Paintings, and will be supplemented by new paintings made for the exhibition. The Camera Train presents the surface of the paintings that it carries in one direction, which is towards the Left Wall [facing from the street]. In all the directions of Cubic Device, there will be opposing, matched device-paintings will establish the multiple axes of Gallery Device’s operation.

In front of the Right Wall, behind the Camera Train, there will be an Acetate Railroad Track, made of 35mm film, on which an asemic scribble text several meters long has been inscribed in precise but meaningless graphic language. On the wall behind and around this Acetate Railroad Track will be mounted additional paintings.

On the Left Wall, in the direction that the Camera Train faces, there will be a table carrying a consumer flat screen monitor, 16:9 aspect ratio. The desk and monitor are quotidian. The video on this monitor will be the visual core of the Gallery Device’s operation. The Video will serve as a comprehensive Maquette, combining all visual elements. It will also presented evidence of the operation of the gallery by the Lens-person, and, more importantly, the Operation of Devices Beyond the Walls. The Gallery Device not only exists in the place where it is, it also exists in other places, and thus, on the screen. These screen images will be of devices and performances that I have recorded at a variety sites, such as the Observatoire de Meudon, this latter realized with the assistance of the Observatoire de l'Espace du CNES.

The Lens-person/s will be mounted on the front wall, where two matching beekeeper’s suits, and bee veil will be attached. There will be a single pair of beekeeper’s gloves, left and right, to indicate the chiral symmetry of the paired suits, which connects the pair.