Cole Lu, you said it’s just a glance behind, swallowing grunt, the heap an ark afloat in short-breathed staircase (Time Machine Modulus), 2018
Cole Lu, you said it’s just a glance behind, swallowing grunt, the heap an ark afloat in short-breathed staircase (Time Machine Modulus), 2018
Cole Lu, you said it’s just a glance behind, swallowing grunt, the heap an ark afloat in short-breathed staircase (Time Machine Modulus), 2018
Cole Lu, you said it’s just a glance behind, swallowing grunt, the heap an ark afloat in short-breathed staircase (Time Machine Modulus), 2018
Cole Lu, you said it’s just a glance behind, swallowing grunt, the heap an ark afloat in short-breathed staircase (Time Machine Modulus), 2018
Cole Lu, Below the map was written a single sentence (Der Hängende Garten von Babylon), 2018
Cole Lu, Below the map was written a single sentence (Der Hängende Garten von Babylon), 2018
Augusta opened the bundle and looked at the little locket. Some images appeared in her mind: Her first croquet game. The corpse in the grey suit. The watch. The page who told her about time. A thirst to know how it worked. What is time? she wrote under the first note. Is it here?
● Karin Tidbeck, Augusta Prima
77 Mulberry is pleased to present Augusta Prima, a solo exhibition by Cole Lu. Taking its title from Karin Tidbeck’s short story, which appears in Weird Tales, Lu has constructed decisive moments for the possibility of time travel. Intending to coagulate this speculation of the unknown, the exhibition presents an installation that delves into metaphorical and literal darkness.
Comprised of a darkroom’s adumbration, the installation consists of a time machine that is activated by the act of reading, and it is made with a wired modular, a welded seat, a light box, a helmet, a pair of binoculars, and a book stand with braille embossment. The mundane dialogue composed by the erasure on the light box creates a time and/or place not present, which carries the consistent mark of Lu’s natural affection for earnestness and satire. Alongside the installation is a bas-relief that renders an imaginary scene of the Hanging Gardens of Babylon, the only one of the Seven Wonders whose location has not been established, because there are no reference texts or definitive archaeological evidences of its site. Like a pair of solid objects on a fictional table, the sculptures are ceaselessly attempting to measure the distance between reality and representation.
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