image text special shop

'Future Tense' by Sterling Crispin at False Flag, New York

Crispin runs up against the edge of humanity – or at least humanity as we presently perceive it. His creations mine the artifacts and reconfigured detritus of larger technological systems. Some already exist, while others are likely to exist in the near future: emotional robotics, computational engineering, behemoth venture-capital firms​, and server farms.

Future Tense considers humanity's collective, unclear conclusion, portraying an apocalypse that never seems to arrive. We have birthed both technological miracles and existential threats: alongside the Green Revolution and the Information Age have come climate change and runaway inequality. Crispin’s work embodies this paradox of technological advancement – which simultaneously enables both improvement and destruction. 

Encompassing a remarkable aesthetic and technical range, the exhibition co-opts the aesthetics of Silicon Valley: overwhelming infographics, branded identities, slick logos. Crispin undermines and explodes this visual language with a transhumanist mysticism drawn from global cultural reference points. The clock is ticking down. Metaphors of time and progress recur throughout: from 3D-printed candelabras to a wristwatch that only tells us not to panic. (Always relevant.) A series of modified fire hydrants and safety labels augur an unresolved future that is simultaneously utopian and dystopian: Boundless Joy, Endless Pain, Hungry Ghosts. 

Far from hopeless, these works are ecstatic. Or perhaps they’re in a place beyond hope, inhabiting a state of only speed and collision as humanity either dies off or transcends itself. If we are to endure, we need more than just technology: our survival demands a new vocabulary, one towards which Crispin moves. 

25.1.20 — 11.5.20

False Flag

'Ruderal' by James Lewis at Nir Altman, Munich

'Klammern aus denen Blätter Spriessen', Group Show at Scherben, Berlin

Jonathan Santoro and Anoushé Shojae-Chaghorvand at Squat Soirée, Philadelphia

4 x 4 by ARCHIVARIUS x Acid Racer, 2022

'Glücksspiel, Le jeu de l’amour et du hasard' by Jacent at sonneundsolche, Dussel

'Häagen-Dazs' by Rasmus Røhling at C.C.C., Copenhagen

'ᘜᑌᗰ:ᔕᑕᗩᒪᗴ', Group Show Curated by Anna Frost at Jack Chiles, New York

'After petal fall spray' by Sol Hashemi at Veronica, Seattle

'Lunatique' by Ernst Yohji Jaeger at Crèvecœur, Paris

'Sour Well', Group Show at Nir Altman, Munich

'Force Majeure' by Aaron McLaughlin at Loods-6, Amsterdam

'Crowd Control', Group Project by Arcadia Missa x High Art, Arles

'Rain Calling' by Lito Kattou at Tranen, Gentofte

'And Darkness the Right Hand of Light', Group Show at MELK

'Don’t Say I Didn’t Say So', Group Project at Kunstverein Bielefeld, Bielefeld

'Memorial Universe!' by Ella Rose Flood at Jargon Projects, Chicago

'Полынь' by Zukhra Salakhova at Plague Space, Krasnodar

'Hamra' by Monia Ben Hamouda at Ariel – Feminisms in the Aesthetics, Copenhagen

Next Page