PROTO BLA: Matthew Johnstone and Natalie Sanders

PROTO BLA: An exhibition of new video and audio works by Matthew Johnstone and Natalie Sanders at Elevator Gallery

Preview: Last Thursday 24th February 6 – 9pm

Open Thursday – Sunday 12 – 5pm 25th February – 10th March 2011

First Thursday 3rd March 6 – 9pm

See the gallery website for special events

Elevator Gallery: 5th floor Unit 9, Queens Yard, White Post Lane, Hackney Wick, E5 9EN.                                                    

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Contact:                  020 8533 6082                         



This exhibition takes place through a series of unlikely combinatory forms; processed objects acting on one another and drawn into conflict. Identified are operations of circulation and reproduction occurring through a transformation of images. The discernible shapes of these combinations do not come about through a body of content specific to one image or another but through positing a continual production of change. Implicit is an impossible moment; a desire to deploy meaning as it’s becoming undone. To conduct a reversal of binding authority tied up with the language of images and the language that describes them.                                  The intentional exposure of elements used to index ‘memory’ and ‘experience’ are combined with other more obvious reproductions momentarily serving as agency within a cyclical process that attempts to undermine the naturalising forces implicit within language that speaks of ‘memory’ and ‘experience’.  Recognition and nostalgia are set up in opposition as power working against itself, implicating us within a space of equivalence or neutrality where neutrality is the token sign of ideologies that expose a limitless potential. A very familiar strategy is employed to draw out the underlying problematic in harnessing this potential. A moment of exploitation in exacting power, put to task in claiming some kind of association with image, is the hallmark of equivalence.                           Other devices; networks of surfaces and sermons engage in a ritual of stripping down material, potentially loaded content is offset and subsumed under further potentially loaded content, levelled and treated as surface. This circulation becomes a violent centrifuge, attempting to apply force against interpretive tyranny synonymous with highly specialised cannons of meaning. Once again we are implicated. The cohesive elements of form perform an operation of push and pull, drawing us in, speaking for the sake of speaking and trying to shove us backward; a vain attempt to protect the middle distance. In front of these elements, caught up in the centrifuge as causal/casual sponges, present for the amusement of culture, we encounter a comic moment of re-materialization.                        Things here are really only interested in themselves, always their own point of reference they become self generating, implying their own persistent reproduction. A degenerate hailing of sovereign authorship; meaning is shaped and authority simply claimed. This is also the dissolution of any fixed point of origin. Pursuant of a radical inclusivity through effacing their on frameworks, pointing away from themselves, yet crucially cyclical, these are self-destructive images; laughing at themselves in the boundless horror of oppression that is equal to their meaning. So here we are! Anything entered into this circulation finds itself decoupled from the formality of poetics that stands as licence in the situation of being set adrift.                          Within a circulation of images, which is necessarily a circulation of meaning, identified is a sense of placelessness that does not produce any logical system to act upon its own destabilising force. What results is a breakdown; a framework devouring itself and collapsing to leave conflicting forces in balance. This is not a collapse into a murky grey; monstrous, vast and incomprehensible, but a forcefully executed moment of annihilation. All necessity done away with, we find entropy basking in its own light!                                    The rapidly multiplying origins of these forms and processes become impossible to place; not because of the verisimilitude of material re-presented, or the seduction of context, but due to a preposterous claim to power, an absolute will to exclusion and a sentence to heat death! This is how it becomes critical that we speak…and you say nothing.



Duration 24 February 2011 - 10 March 2011
Times Preview Thursday February 24th 6 - 9pm, 25th February - 10th March Thursday - Sunday 12 - 5pm, First Thursday 3rd March 6 - 9pm
Cost Free
Venue Elevator Gallery
Address 5th Floor Unit 9 Queens Yard London E9 5EN, ,
Contact 020 8533 6082 / /

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