The exhibition “Ritual” by Theo Triantafyllidis is given through the Meredith Rosen Gallery as a website, also said to be held elsewhere. One is an abandoned city mine in the California desert, where the artist has installed and documented his sculptures, made of solved components and published in 3D. The other is a game engine, where the digitized forms and surroundings discovered in this desert environment are found in a simulation, a game of their own in which the elements interact with each other alternately according to the regulations programmed in connection with the huguy will. Simulation cameras adhere to various vignettes; The point of view is repositioned at random. The documentation of Triantafyllidis photos and videos of his sculptures and extracts looping his simulation exhibition in the downward scrolling of the “Ritual” website. The two bureaucracies of the media game oppose one to a tip of genes, a complex formula that involves and builds in the traditions of Land art by intervening not only in one position, but also representing the opening of the site for replenishment.
Triantafyllidis enhances the rough and ruined quality of your selected desert with post-apocalyptic images. Digital animals are unleashed in a position ignored by humans. Piles of scrap and unhealthy machines that are hard to detect are found within the concrete frame of an abandoned building. What look like overturned satellite dishes, helicopter rotors, and rusty I-rays stick out of the circumference at random. Smoke columns rise from remote debris piles. A view of the drone monitors scattered activity in a congested area.
Triantafyllidis documents his sculptures through a short looping video station in connection with simple photographs, to awaken the effects of time and light. In some birds they are supposed to be jealous (2019), taxidermized crows perch on a reclaimed Bird electric scooter, one with a cigarette butt on its beak. On the “Ritual” site, the raven feathers and hair extensions that hang from the handlebars move smoothly in the wind. The simulation brings the word play to life with nature and technology, while crows take the bird for a walk through the stunning scenery. A pair of animated hyenas laughing stare at the crows from a dazzling sedan, and listens to music from the car’s loudspeaker club. These animals also appear in Frens I and Frens II (2020), tapestries in charge of the type of guard fabric service that transbideocracy JPEG in textiles. In the documentation, they are on a rock, cooking in the sun and waving in the breeze.
At one point, the simulation chamber hovers over the moving ants, either with a small garbage – a plastic flower, a pill, an obsolete tape cartridge – while surrounding a precarious sculpture reminiscent of the balanced products in Fischli’s “Weiss” photo series (1984-86). There is no analog of this design, some of Triantafyllidis’ physical sculptures, even though virtual paintings are also conceived as a furtive connection to the Decoy II garbage collection procedure (for that damn oil-throwing drone), 2020, a bird’s nest woven from dried palm leaves, feathers and design fences, with a pair of bright yellow ping-pong balls like eggs in the center. Triantafyllidis’ digital best friend manipulates bound shots and videos to take them to look like a simulated space. Images of mountains and ruins appear on monochrome backgrounds: pale gray, dull pink or near odiversity design.
Land art has had a complex relationship with media and technology. Interventions at remote sites were, and still are, experienced mainly through documentation. Michael Heizer addressed this challenge through photographs of genescore depicting his earth paintings on a scale of one to one. Full-length engravings gave the artist control over gallery paintings that he also can’t paint on the site. In his 1nine68 essay “The Sedimentation of the Mind: Earth Projects,” Robert Smithson defended Heizer for his location of “stupid tools” like spikes and shovels, claiming that they identify a deep connection to the earth, this is unimaginable when formed through the developer’s bulldozer, which “transburocracy the land in unfinished cities of organized remains.” Aleven, although any of the artists opted for bulldozers to hang large-scale projects, especially friends after 168, continued to base their interventions on undeniable gestures. The wild deception surrounding the readable and geometric interventions of Land art and the post-advertising ruins left through non-artistic uses of heavy machinery constitute the site selected through Triantafyllidis. His cast of the impenetrable ritual shown in the paintings as an insufficient tactic “cures nature”. This could be a cynical evocation of COVID-1 memes for promotional purposes, but it will also be a confirmation of the sensitivity of the simulation directly to the flow. The Triantafyllidis technique of Land art is never a verification and identification of control, as Heizer did with his photographs at scale one by one; Honors the spontaneity of the site conditions.
Triantafyllidis used simulati indirectly PC to create controlled chaos in paintings such as Seamless (2017) and How to Everything (2016), where animals, robots, plants and undulating patterns interact with an alterlocal while performing undoubted random tasks. Over time, the absurd logic of that broadcast relationship becomes readable when the viewer begins to discern the rules of the show. In Ritual, randomness is limited. Paintings are more coherent than simulations beyond the artist. But Triantafyllidis showed those beyond the paintings in the galleries, where the simulations were performed in real time on PC installed in space. The online exposure “Ritual” will have to support the technical limitations of running software in a browser, where inconsistent internet connectivity can also make the paintings invisible. This explains the verdict of giving Ritual on the website as a pre-recorded playback station than live simulation. (In the gcircular of the “Ritual” page, there is a link to a YouTube video that shows the stream from the opening of the exhibition, when the software was streamed live).
As a result, inline expobound turns out to be above the maximum logical mediation. With its impressive movements between simulations, documentation and virtual manipulations, “Ritual” is a more attractive displacement than the networked viewing rooms that have become the old format exhibited during the pandemic. Triantafyllidis makes the most of a problematic situation. But in the end, the site frames its paintings into framed images, limited perspectives and pre-recorded breeding stations. Perhaplaystation is more important for this as a gesture towards the perspective of simulation as a direction of land art: a comic strip or an offer on how we can also simply recompose the concepts of site and mediation.