image text special

'Shadow Writing (Algorithm / Quipu)' by Lorenzo Sandoval at Schwartzsche Villa, Berlin

article image; primary-color: #959490;
article image; primary-color: #ABA6A0;
article image; primary-color: #B2AFAA;
article image; primary-color: #9F9C97;
article image; primary-color: #AFAEAA;
article image; primary-color: #8F8F8F;
article image; primary-color: #B3B2B0;
article image; primary-color: #C1C0BC;
article image; primary-color: #DEDBD6;
article image; primary-color: #C5C1BE;
article image; primary-color: #C6C3BE;
article image; primary-color: #CAC9C7;
article image; primary-color: #C3C2BE;
article image; primary-color: #C0C0C0;
article image; primary-color: #A7A6A2;
article image; primary-color: #9D9C98;
article image; primary-color: #9B9A96;
article image; primary-color: #B8B4A8;
article image; primary-color: #E0D4BE;
article image; primary-color: #CAC5BF;
article image; primary-color: #99999B;
article image; primary-color: #C2C2C4;
article image; primary-color: #C4C2C3;
article image; primary-color: #DCDCDA;
article image; primary-color: #EDECEA;
article image; primary-color: #C7C6C4;
article image; primary-color: #D0C9C1;
article image; primary-color: #878789;
article image; primary-color: #C4C4C6;
article image; primary-color: #B7B8BD;
article image; primary-color: #CDCCC7;
article image; primary-color: #E1D7CD;
article image; primary-color: #BCBCBA;
article image; primary-color: #E2E1DD;
article image; primary-color: #DCD8D5;
article image; primary-color: #B2B1AC;
article image; primary-color: #9E9A8F;
article image; primary-color: #B6B2A7;
article image; primary-color: #C0BBB8;
article image; primary-color: #979388;
article image; primary-color: #BAAD8D;
article image; primary-color: #9B9CA1;

The solo exhibition by Lorenzo Sandoval combines two ancient cultural techniques: the origin of the algorithms and the complex knotting technique of the Quipus from the Incan period. He shows three-dimensional prints of Islamic ornaments, the recording systems of the Quipus as well as video installations in the studio of the Schwartzsche Villa and thus raises questions about the anthropological origin of our computer technology. Following the approach of the Argentinian-British linguist Walter Mignolo's decolonialism, Sandoval uses artistic means to investigate alternative forms to the Western world and knowledge order born in the Renaissance.

The first research takes its starting point in the figure of Muḥammad ibn Mūsā al-Khwārizm. His Latin surname (al-Khwārizm) gave the algorithm its name. This Muslim scholar of the IX. was the inventor of many mathematical discoveries, such as algebra. Starting from his figure, it is examined how mathematics was a transnational language that spanned the entire Mediterranean and linked different traditions of thought. They also had a great influence on the aesthetic conception of Islam in terms of architecture and systems of spiritual representation in the world.

The second starting point examines various theories that propose the Inca quipus as a system of calculation and writing. Quipus was a recording system of the Incas, also called “talking nodes”. 

The project takes these two elements as two lines that intertwine in the narrative to question the origins of the computer. The formal development of the exhibition combines the aesthetic tools of both systems of thought and is interested in basal anthropological questions about the origin of our computing systems today. 

Lorenzo Sandoval is an artist, curator and writer. His works question the distribution of space and power through platforms and encounters that promote 'spatial storytelling'. In 2019 he will represent Finland at the Venice Biennale together with the interdisciplinary team of the Miracle Workers Collective.

8.9.18 — 4.11.18

Curated by Dr. Christine Nippe

Schwartzsche Villa

'The most weirdest things, make the most beautiful pictures' by Michael Bussell &

'Time Keepers' by Johanna Odersky at Intersticio, London

'Bliss' by Ellande Jaureguiberry at A.ROMY, Geneva

'
The Naked Girl Walking Backwards Like Crayfish' by Chloé Arrouy at NEVVEN ON SI

'Sloan' by Joseph Kusendila at Kantine, Brussels

'Grommets' by Rasmus Røhling at C.C.C., Copenhagen

'Goggelmoggel' by Lukas Schneider at Regatta 2, Dusseldorf

'Catacombs of Love' by Sylbee Kim at MÉLANGE, Cologne

'Kündigung' by Jannis Marwitz at Lucas Hirsch, Dusseldorf

'Fantasy Finery', a Group Show at Berlínskej model, Prague

'A curse in disguise' by Adam Cruces at Disneyland Paris, Melbourne

'Autonomia
' by Kaspars Groševs at Noass, Riga

'Bracket Sentiment And The Technicolor Yawn' by Sophie Serber at Shore, Vienna

‘Exception of (not) being’, Online Show Curated by Essenza Club and Rhizome Parki

'Energy Systems / 3: Safe in the Front End' by Joachim Coucke & Lasse Hieronymus

'Giantess' by Rose Dickson at Melanie Flood Projects, Portland

'Lieber Nackt Als Gefühlsleben' by David Ostrowski at JIR SANDEL, Copenhagen

'This Land is Your Land' by Andre Yvon at darkZone, New Jersey

Next Page