Hoard Equivalents
Hoard Equivalents depicts two characters interacting in a computer server room using a series of sculptures based on objects from the Cuerdale Hoard, a collection of Viking silver from the tenth century discovered in Preston, UK, in the mid 19th century.
The activity incorporates movement, touch and speech, perhaps resembling therapy or company training. The characters’ dialogue encompasses ritualistic refrains, their personal responses to the hoard and reflective discussion of the interfaces they use to communicate and how it shapes their relations to others. The script was developed, in part, from conversations between the artist and the writer Juliet Jacques, who play the two characters in the video.
As their conversation continues, this interior footage is cut through by images of weeds at the edges of pavements, symbolising the possibility of an autopoietic system that truly varies alongside the dull reproduction of capital and information.
By drafting a fanciful yet not unrecognisable mode of social contact which brings the spectre of previous technological and material cultures of accumulation and distribution into a networked present, the video looks at how the tools we use affect notions of value, similarity and difference amidst the abstractions we experience in our communal lives.
The video was presented for the first time in a solo exhibition at Galería Bacelos in Madrid on March-May 2017, accompanied by a series of sculptural works that expand upon and translate its content.
The activity incorporates movement, touch and speech, perhaps resembling therapy or company training. The characters’ dialogue encompasses ritualistic refrains, their personal responses to the hoard and reflective discussion of the interfaces they use to communicate and how it shapes their relations to others. The script was developed, in part, from conversations between the artist and the writer Juliet Jacques, who play the two characters in the video.
As their conversation continues, this interior footage is cut through by images of weeds at the edges of pavements, symbolising the possibility of an autopoietic system that truly varies alongside the dull reproduction of capital and information.
By drafting a fanciful yet not unrecognisable mode of social contact which brings the spectre of previous technological and material cultures of accumulation and distribution into a networked present, the video looks at how the tools we use affect notions of value, similarity and difference amidst the abstractions we experience in our communal lives.
The video was presented for the first time in a solo exhibition at Galería Bacelos in Madrid on March-May 2017, accompanied by a series of sculptural works that expand upon and translate its content.
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