GARDAR EIDE EINARSSON
"ONE PLUS ONE"


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04.05.-10-05.2020:   CHADWICK RANTANEN
11.05.-17.05.2020:   TORBJØRN RØDLAND
18.05.-24.05.2020:   ASAL PEIROVI
25.05.-31.05.2020:   MIKAEL LO PRESTI
01.06.-07.06.2020:   MARI SLAATTELID
08.06.-14.06.2020:   GARDAR EIDE EINARSSON
15.06.-21.06.2020:   MICHAELA MEISE
22.06.-28.06.2020:   HANNAH RYGGEN
29.06.-05.07.2020:   NINA BEIER
06.07.-12.07.2020:   MARIUS ENGH
13.07.-19.07.2020:   FREDRIK VÆRSLEV

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The abstract relations of the objectivity of symbolic immanence that is relating the mode of notation to of its immanence of value, segregating prototypical value and the composites of its power relations, are providing an a-categorical alienating objectivity, suspending of determinist value, constituting a mode of dominating alienation. Providing the a-symbolic function in the negation of the notation of value, the mute status of objectivity occurs by the infiltrative arbitrative a-symbolic differentiation of the quantitative affirmation of the unique in social production and value notation.  

The stale monumental quality of the printer in the fashion of the bronze, the transference of power to the immanence of the separation between production, the labour of its production, and the systemic immanence of transferred power to provide for its functions, generates the negation of system fetish, in the arbitration of its specific origins, and the historical epoch, serial and reoccurring in time, providing the standardization of the material as the indexical fetish negating the specific quality of notation.

The rejection of the prototypical signification of the immanence of production to the reduction of the abstract spatiality to a type affirmation, is negatively constituted, in the rejection of the signature affirmation of the individuated, into the general modes of repressive non-production. The de-signing of the sculptural work, occurs in the affirmation of its general incubation of the repression of production and the affirmation of the void abstract relations constituting its general capacity of consciousness, by the diversion of objective production to the alienated status of the immanence of the real, alienated through the act of de-signing. The official homage to the negative theology of de-signification, that is occurring on the general level, provides the replacement of production in consciousness with an alienated allegory of reality, randomizing the status of its value. The referential voiding that provides the arbitration of notation, is relating to the contraction providing the anti-objectivity affirming the notation of value as a pure detachment of desire. The monumental value endorsing stagnating production by means of an abstract fissure confronting the cohesive arbitration of archive values, is distilling the mute subjectivity of creation as non-related to the object. The silence of the in-determination of indexical value, and its abstraction of the relations of value, is affirmed in the symbolic arbitration of the composite formations of the spatialities of power, the suspension of objectivity replaced by its in-determination. Negatively asserting the autonomy of value relations, the composites of power displays the arbitrary quality of fetish values, and the monumental quality of repression, in the subjugation of the medium as such to its affirmation of the strike of the in-determination of the collected gesture as the assemblage of forces.  The immanence of consciousness to the repression of productive immanence is captured by an indexical quality symbolically arbitrary and relative to the distortion, of the mediated productive levels of value relations. The departure of consciousness from the immanence of productive levels and the machinic integration of consciousness, provides the composition of distortion in its void alienation, with a gestural composite forming the dominance of a void subjectivity of absolute alienation, while the in-determination of power relations are constituted a posteriori to perception as an existential outcome of the work.

The printers provides, in the fashion of the bronze the theoretical impetus of validation to the abyss of void value, that is integrating nihilism with the alienation of de-differentiation. The work suspends the earlier emergency theme, and the prototypical qualities of social immanence to industrial products, while the theme of the scarcity of desire in invention is relating to an apocalyptic historical finitude of non-relation. While Michel Foucault asserts the a-categorical imperative, and “The Order of Things”, he is asserting a geometric spatiality for the voiding of discursive origins, for the giddiness of objectivity, as in the “rich equality of those lips”, the celebration of the serial qualities of Warhol, in his positing of the general equivalency, providing an affirmation of the social possibility of utopian capital. The transference to a poverty of equality of a dystopic mute nihilist conveyance of notation, is providing the negation of affirmative value, forging the transition to the productive rejective mode of subjectivity relating to any immanence of validation, as objectivity is secluded, in a negative repression of its relation to the modes of signification, affirming the signifieds of subjectivity, in an anti-deconstructive assimilation of the archives, as the possible subjectivity of absolute alienation.

The indication of indexical values, traversing the social immanence of the functions of the archives, is related to the gestural immanence of produced objectivity, in its constitutive relations, in the manner of which Gilles Deleuze and Félix Guattari, marks the end of writing in Capitalism, as the end of dominant signification, contested in the rise of regime assimilation of signification, while affirmed in the absorption of the object to the function of the negative in-determination of the standardization of dominant notation.

- Mikkel Astrup

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Gardar Eide Einarsson
Hewlett Packard #2 (for MF)
2013

Six bronze sculptures
Each sculpture: 26 x 34 x 35.5 cm / 10 1/4 x 13 1/2 x 14 in
Unique / SOGEE/S 2013-031

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