DATA MINING
Wallspace
July 6 - August 5, 2006


Q Takeki Maeda & Jay Chung


JAY CHUNG pushes the limits of perceptibility in his work, often leaving key aspects of his projects open-ended or unknown. "Seeing" or "knowing" his work, then, requires a certain amount of faith (optimism) and trust (risk). In describing the motivation that compels any of us to do things as part of a work, Nickel Tour, that was executed in London last year, Chung and his frequent collaborator, Q Takeki Maeda, inplicitly desribe the feeling we have when engaging his/their work: "Tour guides will ask for attention and a certain degree of docility, but they also allow for passivity, graciously leaving one to rest easy in the security of a predetermined course. Given the opportunity to indulge in abstraction, one might drift off to find the personification of one's interests and motivations in such a guide. Certainly the idea of this figure — a version of which we are more or less discreetly following at all times in our lives, otherwise we would get nothing done — becomes more distinct at times; yet it never becomes so concrete that it stops being an apparition. One isn't being so much led as projecting something ahead of oneself to follow. Who does it resemble? How and in which direction does it move?

For this show, Chung is distributing The Final Unfettering, an admiring plagiarism of Dadaist Walter Serner's Handbrevier für Hochstapler (Handbook for Swindlers).

All works except Star Machine are in collaboration with Q Takeki Maeda

Links
www.galleriadartemoderna.bo.it
www.moscowbiennale.ru
www.kunstaspekte.de