Friday, June 2, 2023, 2–8 pm.
Every Thursday, Friday, Saturday
(June 2, 3, 8, 9, 10, 15, 16, 17, 22, 23, 24)
12–6 pm or by appointment.
A city has all but outlawed the possibility of encountering the night. The insistence on wrangling night into day has led to a coercion of darkness through systemic illumination. To be illuminated, is to be measurable, accountable. Night therefore is reserved for those who depart the city.
The Japanese term for twilight is 誰そ彼 (taso-kare) which is an old way of saying あれは誰 (are-wa-dare), meaning “who is that?” The term embodies a time when artificial light was scarce; a time when it was difficult to make out figures in evening light.
In the exhibition, ‘Crepuscule’, Sihl Delta (Δ) is filled with a permanent twilight (die Dämmerung); an interiorised nightfall, a space in praise of the indiscernible, low-visibility and fears.
Three concurrent sunsets will be projected in the space, their colours are sampled from four types of twilight—Civil, Nautical, Astronomical—each referring to the angle of the sun at 6, 12 and 18 degrees below the horizon respectively. A sunset event lasts approximately 70 minutes; 20 nightfall events take place in 24 hours.
The sunsets are projected upon Benjamin Reynolds’ large metallic ‘platters’ strewn on the floor of the space. The platters—resembling landscape paintings—are less about their visual constitution, and instead about the reflected geometries of light cast upon timber veneers that wrap the space.
The stained pine veneers wrapping the space are loose leaves that host Valle Medina’s painted motifs. Since the colour vision of the viewer is lost in the low light, the motifs become indiscernible, or rather appear as poly-identities. Scented wax fills holes in the veneers where there are knots in the wood.
‘Crepuscule’ forms a continuation of work that deals with deprivation as a productive strategy.