at Stadium, NY
Curated by Artie Vierkant
May 31st – July 28th, 2012
The lifespan of an image is ordinarily thought of within a certain routine: the preparation for the making (pre-production), the actual making (production), and the tweaking of the image to a “finished” state (post-production), followed by the dispersion of that image in various media.
None of this is in fact the case. Today it is impossible to locate any specific zones of production, nor to experience any image or object that will no longer change over time, becoming re-used and re-mastered by other hands. The big-budget film produces its special effects before any actors are hired; when they are, they do not appear on screen but have been used as puppets, studies for convincing motion to be replaced entirely in what was once called post-production and now is simply creation. The latest shocking image of social unrest and political strife becomes overlaid with countless variations of ironic text. A 17 year old obtains a copy of a film from the 1960s without permission and replaces the entire soundtrack with shoegaze.
We live in a constant stream of post-production, where ideas, images, and formats are constantly interchanged and re-oriented. The artists of In Post share practices that operate uniquely within these conditions, traversing a wide range of tactics.