Everything Is And Isn’t At The Same Time

Galerie Huit is pleased to present the Hong Kong solo debut exhibition ‘Everything is and isn’t at the same time’ by Troika, Eva Rucki (b.1976 Germany), Conny Freyer (b.1976 Germany), Sebastien Noel (b.1977 France), who have worked together since 2003.

Troika’s works manipulate and disrupt our experience and understanding of the world and ask the question why we know what we know, and whether such knowledge is certain.

The exhibition will be held from 18th March to 6th May 2016 at Galerie Huit.

The exhibition at Galerie Huit consists of signature two-dimensional works and sculptures made from a wide array of media including soot, dice and electricity that articulate the physical manifestations and signifiers of time. If it is true that all art has an implicit and unique temporal quality, the materiality of time is here the prime element and subject matter.

At the centre of the main gallery hangs ‘The Sum of all Possibilities’, a sculpture characterized by an apparent infinite metamorphosis which is in reality a 12 minutes loop with a limited number of combinations, recalling the usual circular path of the viewer around the object. The work offers a playful commentary on the nature of sculptural forms, which traditionally cannot be seen from each point of view simultaneously and can be grasped in its totality only through the act of moving around it.

‘Hierophany’ and ‘Calculating the Universe’ are made through the placement of tens of thousands of black and white dice one after the other following simple repetitive algorithms. Albeit having a precise starting point (in the case of ‘Hierophany’, the upper half and in the central axis for ‘Calculating the Universe’), these works are the still-frame of a potentially boundless, infinite repetitive process that unfolds during its making-process in an unpredictable yet causal way. While time in ‘The Sum of all Possibilities’ is an autarkic cycle, in works such as ‘Hierophany’ and ‘Calculating the Universe’ time is the promise of an endless journey.

Chance disrupts the cause-effect development of logical arguments and time is no longer linear but a maze, an architecture of experience. In the Upper gallery, ‘Circular Ruin’ is the result of one or more coloured smoke bombs that have been set off in a wooden labyrinth-like structure. The structure is removed and only made visible, not dissimilar to a ghost image, by the traces of soot left on the paper. Instead of suggesting the possibility of an expanded duration, the time necessary for the passages of this foreign, intruding smoke is thus imposed, nay compressed, in the material fabric of the work.

Some of the pieces in the exhibition belong to a series (‘Fahrenheit 451’) or their formal elements organised into sections, phrase and sequences. The art object is thus made of a series of events, where narration is substituted by a repetitive process of creation whose outcomes suggest a sort of development in stages, analogous with the phenomenon of growth.

Poised on a plinth, ‘Everything is and isn’t at the same time’ (2015) reconciles these different phases in a sculptural form. A perfect circle, a hexagon and a perfect square become one, embodying the idea that any form encloses the concealed experience of its opposite and all manifested things have more than one side. Everything is and isn’t at the same time, opposites are identical in nature and paradoxes are resolved. Resembling a satellite view of a landscape or a charcoal chiaroscuro, the coagulated texture of the sculpture’s surface animates and obfuscates the flatness of its facets. The sculpture ‘Everything is and isn’t at the same time’ interprets a monocular, disembodied, objective vision of the world. It questions that all can be understood completely in terms of the processes from which it is composed, and suggests that one model or view alone can never form an accurate image of the whole.

The sculpture is made of its inner simultaneity. The passing of chronological time is irrelevant, and time becomes an experiential process consisting of the perceived relationships between and within objects, events and bodies veiled in our conceptions of origin, persistence and finitude.