Notes to The World is Everything and That is the Case exhibition.
The suitcase lies prone in the middle of the cabin; its epidermis of waterproofed black canvas sags gently in the middle, suggestive of a resigned world weariness. A cursory topographical analysis serves to simply reiterate its mute presence, there, as a material fact. A paper bracelet adorns the handle grip that I used to manoeuvre the luggage into its present position. A patch of raised edges ripple along the section of the baggage tag where the adhesive backing of this looped strip was forced into contact with itself. Sweeping diagonally across the bar-code printed onto its waxy surface, the ink in this zone of turbulence has been scuffed away, removing from its lateral stream of bands an area that serendipitously resembles the Alexander Archipelago – the group of islands off the southeastern coast of Alaska whose waters we have just left behind. A metonym of the friction that inevitably results from the collision of different worlds; in this case, the active interface between the smoothness of information transfer and the materiality, the living tectonics of physical surfaces set in motion.
- Dr. Vince Dziekan is Associate Dean (Research) in the Faculty of Art & Design at Monash University in Melbourne, Australia. In addition, he is affiliated with the Foundation for Art & Creative Technology (FACT) in Liverpool, UK as a FACT Associate, and most recently was appointed Digital Media Curator of the Leonardo Electronic Almanac (LEA). His research focuses on the impact of digital technologies on curatorial design and the implications of virtuality on exhibition based practices. This interdisciplinary investigation has been articulated recently in Virtuality and the Art of Exhibition (forthcoming publication, Intellect Books, UK). He has exhibited widely in solo and group exhibitions and through independent curatorial practice. He exhibited his demonstration exhibition, The Ammonite Order, Or Objectiles for an (Un)Natural History at Ormeau Baths Gallery in Belfast, Northern Ireland as part of the ISEA2009 juried exhibition. He is research leader of the Photography & Video Research Cluster at Monash Art & Design, Adjunct Programme Advisor for FACT ATELIER (FACT, Liverpool), series editor of Transdiscourse (in collaboration with Z-Node; ZHdK, Zurich University of the Arts), and member of the international advisory committee of ReWire 2011 (MediaArtHistories conference, Liverpool) and the Virtual NGV steering committee (National Gallery of Victoria, Melbourne).
Full text (PDF) p. 292-301