... Thus, the surface of the earth at the equator moves at a speed of 460 meters per second — or roughly 1,000 miles per hour. While going around the sun it covers the route at a speed of nearly 30 kilometers per second, or 67,000 miles per hour. In addition, our solar system — Earth and all whirls around the center of our galaxy at some 220 kilometers per second, or 490,000 miles per hour. The galaxies in our neighborhood are also rushing at a speed of nearly 1,000 kilometers per second towards a structure called the Great Attractor, a region of space roughly 150 million light-years away from us... The earth is also moving with respect to the cosmic microwave background radiation (CBR) at a speed of 390 kilometers per second. (Scientific American, October 26, 1998).
We tend always to attach ourselves to the objects, to the flavor of the most recent past. We look at the present through a rear-view mirror. We march backwards into the future. (Marshall McLuhan - McLuhan, M. and Q. Fiore. (1967). The Medium is the Massage: An Inventory of Effects)
CULT | Aimee Friberg Exhibitions is pleased to present Ladies & Gentlemen, We Are Floating In Space, a solo exhibition of light installations, sculpture and architectural interventions by Mexico City based artist Pablo Dávila on view from May 13 through July 9, 2016. The gallery will host an artist reception on Friday, May 13 from 7 — 9 PM. This is the artist's first solo exhibition in the United States.
Dávila explores sentience and subjectivity through investigations in perception, space and time consciousness. His practice takes many shapes-- encompassing video, electronics, light installation, photography, conceptual painting and site-specific interventions. Utilizing a minimalist reductive approach, Dávila traverses the space in between sensory perception and cognitive understanding. His poetic gestures trigger a questioning of our expectations in dealing with the passing of time, and the psychological lens with which we process events in our memory.
For Ladies & Gentlemen, We Are Floating In Space, Dávila isolates conventional architectural materials- exposing the essential fundamental character and high-jacking the intended functionality, injecting a new reading with psychological, phenomenological, spiritual and cultural references. With this new body of work, Dávila makes reference to several distinct (but arguably, parallel) perspectives of time consciousness. He draws namely from the works of philosopher and communications theorist Marshall McLuhan, Tibetan Buddhist practitioner and yogi Milrepa, minimalist American composer Steve Reich and the aging technology of UNIX timestamp.
Dávila explains: "Light rays manifest themselves in a way in which our brain must process what is captured by our eyes for us to comprehend what we are seeing. I believe we are disoriented in our comprehension and perception of time and space, I am attracted to particular objects that confront this deception and speak to me to me with distinct speeds, aesthetics and spaces."
For Remember tomorrow, exposed and fixed photographic paper protrudes out of the top of the enclosed frame covering a photograph of Milarepa's Cave or Namkading Cave in central Tibet. The cave is where Milarepa achieved enlightenment in just one life and is a pilgrimage site for Tibetan Buddhist practitioners. As the title suggests, the piece playfully calls to question our awareness of the present and our fascination with the past and future.
Living in time believing in the timeless is a wall installation in which 32 drumsticks and 16 crotales (small antique cymbals) are mounted in a horizontal line. The drumsticks are controlled by custom electronics, driven by the UNIX timestamp, the 32 digit binary code, clock used by computers all over the world. The internal code of the sculpture translates the UNIX generated number into a pulse. As each second of UNIX code is inherently unique, the drumming pattern of Living in time believing in the timeless never repeats; The UNIX timestamp will end on the year 2038, and the sculpture will die with it - a conflation of past-future time.
On the gallery's main back wall is a minimal yet elegant work titled Oblique approach. A piece of glass leans against the wall and receives a projection of light from above, illuminating only the interior edges of the glass. A volume is created without containment, light passes through and reflects the room and the observer simultaneously, inviting introspection and a heightened awareness of the ambient space surrounding.
ABOUT THE ARTIST
Pablo Dávila (b. 1983, Mexico City) has exhibited at Travesia Cuatro (Guadalajara), FIFI Projects (Monterrey), FIFI Projects (Mexico City), Sala Juarez (Gaudalajara), SALÓN ACME (Mexico City), and at ACME (Brooklyn, N.Y.). He participated in the artists-in-residence program at the Atlantic Center for the Arts with Josiah Mcelheny (Florida). Dávila holds a film degree from Vancouver Film School in Vancouver, British Columbia. He is represented by FIFI Projects in Mexico. He lives and works in Mexico City.