Noplace, Oslo proudly presents:
06.09.13 - 15.09.13
Opening: Friday 06.09.13, 20.00 - 23.00
Opening hours 14-17, Saturdays and Sundays
Exhibition and book launch
Despite its static properties the suspended can of water in Saman Kamyab's video Untitled Can is actually in motion: A hardly discernible rotating movement reveals that what we are seeing is not the projected still we took it for. The water can is swinging from a rope like a hypnotists pendulum. The pattern of its slow rotation is irregular, though, decided by knots, angles and the tension of the rope in combination with the wind's direction and strength. Short breaths of wind jostle the can, making the rope's fibrous structure continuously uncurl and re-curl, pulling the can in a slow back and forth pan, clockwise then counter clockwise.
A few litres of water – a substance both dense and void – held indefinitely inside a plastic can, dangling from a piece of rope, severed from the larger system that makes sense of it by the upper edge of the frame; could photography find a better mirror to its own operations on our phenomenal world? To the way photography imposes boundaries on information access by limiting and fixating a view? Or the way it holds – or contains – a «liquid» substance by congealing our shifty material surroundings into frozen, two-dimensional facts?
Kamyab's book Botanical Splendor is comprised of a series of what could be called «aesthetic accidents». What these photographs show us are the arbitrary side-products of a larger, oblivious end – the impermanent monuments that assemble in the wake of urban growth. Like the accidental dance of the can, the objects and arrangements that Kamyab depict are unintentional through and through, yet they are eerily reminiscent of the kind of structures that we are prone to think were intended by someone – they look like sculptures wrought with semantic content. Kamyab's practice is clearly invested in the problem of agency. Like the title of his show suggests: sense, or meaning, is something approached, aimed at, then missed.