Delay

© F. Grond, 2014

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© F. Grond, 2014

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Delay

in collaboration with Florian Grond

Exhibition
April 16 – May 28, 2016

Opening
Saturday, April 16 at 5 pm

Presented as part of the International Digital Art Biennial (BIAN) and the Montreal Digital Spring 2016

   

Delay is a spare installation about impossible love. It is meant to be a lure: to be seen, heard and experienced; to delay people, as love does – which, in this case, stems from my love of painting and the goal to take it from its 20th century’s expansion into space into the realm of time with sound. Various ways of understanding paintings as artefacts contribute to privileging the eye over the ear and, arguably, the diminishing sense of touch. In other words, all these view painting as a direct, visual experience as opposed to something that unfolds over time, for which the ear is better suited.

Delay treats painting as an embodiment of process. The arrangement of colors and shapes, the enjoyment of visually surfing along a painting’s surface incidents and not being able to touch them, instantaneously creates desire. And that desire is compounded by a tickling of the ear, the sense that complements the eye in our experience of time and space. And it is this tease—this suggestion and refusal to be explicit—that captivates its viewers: A painting alerts multiple senses, and we are delayed.

Created in collaboration with Florian Grond, Delay purposely references Marcel Duchamp’s interest in visuals and sound and The Large Glass (The Bride Stripped Bare by her Bachelors, Even), which he originally titled Delay and which also dealt with impossible love.

- Mary Sherman, 2015

Delay is presented by OBORO as a prelude to the upcoming retrospective project Dream Mechanics curated by Tamar Tembeck, in the Fall of 2016.

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Mary Sherman

Mary Sherman is an artist and the director of the artists-run TransCultural Exchange, which she founded in Chicago in 1989. (She also teaches at Boston College and Northeastern University and, in 2010, served as the interim Associate Director of MIT’s Program in Art, Culture and Technology.) Additionally, for two decades, while pursuing her career as an artist, she worked as an art critic for such publications as The Chicago Sun-TimesThe Boston Globe and ARTnews. She has received numerous grants and awards, including two Fulbright Senior Specialist Grants and been an artist-in-residence at such institutions as MIT and the Taipei Artist Village. Her own works, which push the definition of painting into the realm of space and sound, have been shown at numerous institutions, including Taipei’s Kuandu Museum of Fine Arts, Beijing’s Central Conservatory, Vienna’s WUK Kunsthalle, Trondheim’s Academy of Fine Arts at the University of Science and Technology, Seoul’s Kwanghoon Gallery, New York’s Trans Hudson Gallery and most recently at the homage to the legendary 9 Evenings: Theatre & Engineering, 9e2: 9 evenings of art, science & technology.

Florian Grond

Florian Grond is currently working on a research-creation postdoctoral project at the Input Devices and Music Interaction Laboratory (IDMIL) at McGill University in collaboration with the Société des Arts Technologiques (SAT). He is also a collaborator at the Centre for Interdisciplinary Research in Music Media and Technology in Montreal. He holds an MSc (2002) from the Karl-Franzens University in Graz (Austria). From 2003 to 2007, he worked as a research associate and guest artist at the Center for Art and Media (ZKM in Karlsruhe, Germany). He has received a doctorate from Bielefeld University, Germany, in 2013. His artistic and academic work focuses on the intersections between art and science, with a special interest in sound.