The machine is not all nice (but then again neither is nature) both include carbon emitting poisons, and climate changing events.
The art gallery is a stationary assemblage that enables transformation. The objects and situations that are presented within its walls are forever transitory.
Bagnall’s works do not just demonstrate machinic vision but prefigure a move in contemporary art from the stable aesthetic object to the unstable and impure real-time process of machine aesthetics.
The artist and his painting machine have become a very particular assemblage of flows.
Thinking about an ecosophical approach to contemporary art that considers NZ bird extinctions.
This exhibition offers a speculative map for the future histories of media, machines and humans.
Everyday fear has lead to habitual uncertainty, and the Christchurch earthquakes occurred in a location that was already well acculturated to a neoliberal concept of risk.
Perhaps in 1972 this was the right place to leave the art machine: bashing at the operations of modernity…
Increasingly complex laws of compensation, cause and effect replaced the deodand, but the nonhuman objects and their crimes did not go away.