As solo show operates within the vector’s gaze, a regulated and algorithmic space, it exists as a mass collaborative formless detournment. Each exhibition and each work acting as possible moments of rupture and slowness, an opening up and adding to, an antithesis of the countless modes of consumption deployed within the attention economics functions. Regardless however, each work, each coded image and word at some point is forced into the asymmetrical form of data. A pattern is mapped and sold, another bushel for our invisible harvest.

This is similar to magical realism in that it makes the familiar unfamiliar and the unfamiliar familiar, which creates a gap or a moment of separation in which both the artist and the viewer have a chance to slip past imposed reasons into a realm that remains useless and dangerous to the state. It negates the power of the image economy/ neo-liberal vector as it declaratively hides in plain sight. Through the creation of new histories of the useless solo show attempts to help facilitate a space in which this language of signs and signals can be developed and deployed. As a decentralized anti-enclosure movement. Solo show offers the possibility of access to art as a mass dream, a vision, of which each encounter opens up many different lines of flight with hopes that more corporal connections can be made and real communities and commons can be established and grown.

“I would entrust art with the task of developing a new way of life, a new awareness, a new narrative against the prevailing doctrine. As such, the saviour is not philosophy but art. Or I practise philosophy as art.”

- Byung Chul Han [NEXT] ❥