blank projects is pleased to announce Measuring Nothing, a solo exhibition by Jared Ginsburg.
‘There is a general rule by means of which the musician can obtain the symphony from the score, and which makes it possible to derive the symphony from the groove on the gramophone record, and using that first rule, to derive the score again. That is what constitutes the inner similarity between these things which seem to be constructed in such entirely different ways.’
– Ludwig Wittgenstein (Tractatus Logico-Philosophicus, 4.0104)
This exhibition is a constellation of points, rendered from quite different materials (video, sculpture, line) that all in some way describe a mode of investigation. This mode is recognizable to me, but not known to me, in the sense that I can’t speak for, or about it, in any other way, than to offer the discrete points themselves.
Exhibitions of this kind, this being my fifth with the gallery, feel to me like cloud spotting; framed up together, individual co-ordinates can be related to one another, inviting (though often fleeting) insights into the underlying motivations of my uncertain inquiries.
Moving from the studio into the gallery excites transformation – from the laboratory to the shop floor; from private into public; from the known (idiosyncratic inquiry) to the unknown (what can these things mean?).
This transformation has always been generative and always been confusing. Perhaps it is generative because it’s confusing.
I look forward to seeing these remains, traces, instruments, devices that are the works, temporarily sharing the gallery together. Removed from their operational lives as tools and processes, they are afforded an opportunity to speak to each other, to others, and to me.
Jared Ginsburg, 2018
‘There is a general rule by means of which the musician can obtain the symphony from the score, and which makes it possible to derive the symphony from the groove on the gramophone record, and using that first rule, to derive the score again. That is what constitutes the inner similarity between these things which seem to be constructed in such entirely different ways.’
– Ludwig Wittgenstein (Tractatus Logico-Philosophicus, 4.0104)
This exhibition is a constellation of points, rendered from quite different materials (video, sculpture, line) that all in some way describe a mode of investigation. This mode is recognizable to me, but not known to me, in the sense that I can’t speak for, or about it, in any other way, than to offer the discrete points themselves.
Exhibitions of this kind, this being my fifth with the gallery, feel to me like cloud spotting; framed up together, individual co-ordinates can be related to one another, inviting (though often fleeting) insights into the underlying motivations of my uncertain inquiries.
Moving from the studio into the gallery excites transformation – from the laboratory to the shop floor; from private into public; from the known (idiosyncratic inquiry) to the unknown (what can these things mean?).
This transformation has always been generative and always been confusing. Perhaps it is generative because it’s confusing.
I look forward to seeing these remains, traces, instruments, devices that are the works, temporarily sharing the gallery together. Removed from their operational lives as tools and processes, they are afforded an opportunity to speak to each other, to others, and to me.
Jared Ginsburg, 2018
