Crimes of the Future, Shannon Bool
What is a body to do with itself in a space like this?
The title of the upcoming show „Crimes of the Future“ and of the eponymous large-format tapestry cites the movie by David Cronenberg released in 1970. Shannon Bool focuses on architecture as a projection screen and choreographer of the actions and identity of the bodies of the protagonists that are at first “meaningless”. The architectural style of “brutalism” plays a central role. The term “brutalism” derives from the French “béton brut”, meaning “raw concrete”. Evolving in the 1920s as a modernist movement, brutalism aimed at providing the experience of “mental liberation”, “true seeing”, “sensuality instead of commerce”.
The motif of Shannon Bool’s tapestry „Crimes of the Future“ was generated on the computer and is based on a photograph of a presentation at the Yves Saint Laurent
Museum in Paris. Shannon Bool arranges the modernist-minimalist figurines, which themselves are already a surrogate of the female body, to a new projection screen by creating a collage on the “inside” of the silhouettes with detailed views of sacred architectures of brutalism, such as the Wotruba Church in Vienna or the Second Goetheanum by Rudolf Steiner. The motif triggers a cascade of associations. The original figurines as “pure” projection screens were already compared to Madonnas of consumerism. This “nakedness of meaning” is now replaced by the nakedness of brutalism’s concrete architecture. The computer-generated motif is produced with the highly technologized Jacquard weaving method that translates digital space into a haptic relief. Shannon Bool’s tapestry thus gives rise to a paradoxical corporeal experience between digital and real space, which literally “collapse” in the mental space of the viewer.
Opening during the dc-open weekend
Fri 04 Sep 11 am—10 pm
Sat 05 Sep 11 am—8 pm
Sun 06 Sep 11 am—6 pm
For any questions, please contact
Shannon Bool Crimes of the Future, Text 2020 © Kadel Willborn