The Schroeder Romero / Winkleman Gallery Project Space is very pleased to present “Hyper-Spatial Sentient Sopper Serum Scillystrations of Morph-Feral-Foglet-Fabbed Smart-Gels and Quacker-Cast Dataclouds of Public Panopticon Powder on Airborne Algorithmicracked-Out Recreational Diseases,” an installation of works by New York artist Shane Hope.
Known for his research-based, “speculativernacular” art projects that use futurological technologies and transhumanist narratives, Hope here offers a series of “drawcuments” (hand-drawn documents) of museum-like placards used as placeholders for artwork that has been temporarily removed from its location for some institutional purpose (either for conservation or due to a loan to another institution). Upon reading the placards, though, it becomes obvious that the media used to create these conveniently unavailable artworks doesn’t yet exist, as neither does the post-singularity reality that might make them possible, highlighting the wonderfully imaginative approach to conceiving not only the promise emerging technologies hold for improving human life in numerous ways, but also the potential intersection of such advances and art.
Shane Hope, if one is to believe his resume, received (or rather will receive) his BFA in Geekonomic Scillustration from the Yöü-Ünix Klüster Koördinator U. in 202_? &/or 2034-ish; his MFA in Junk DNA Sculptural Ontogenesis from the Accelerationistas School of Noocytes vs. Computronium in 2041 and 2.22… zeptoseconds; and his PhD. in Cronomordant Extratemporal Studies from the Thought Barrier Overclocking Thinking Recycling Think Tank 2.0, in Wheneverland and Ever Aftermath. He has exhibited (verifiably) at Virgil de Voldere Gallery in New York; Project Gentili, in Prato, Italy; and iMAL (interactive Media Art Laboratory) in Brussels, Belgium.