Humanity's fatal questions are nothing to just dismiss. Malmö konsthall's exhibition ”Speed 2” is carried up by a hard political vacuum where the threats from climate change, nuclear technology, and the sixth mass extinction is that a muffled tone behind an advanced collage on a high level of visual volume.
It burns, and it should feel on the retina.
the Collaboration between the two american artists James Richards, Leslie Thornton picked up during a stay at the CERN laboratory in Switzerland and has over time developed into something akin to a mixture of chaotic mediebank and apocalyptic children, students.
video installations, historical audio and remixes of their own older works sampled with found objects and works by other artists in a totality, as mångstämmig and fragmented as our time the scientific and philosophical world view.
at Least I think it is the way it is supposed to.
In reality, I have very hard to find any way out of this labyrinth of statements and impressions, where visibility is all the time disturbed by colliding picture - and ljudfragment annexed together according to some kind of intuitive cut-up-technique.
Sure, there is a lot to be captivated by: Richards ”Phrasing”, a multichannel projection of outsized röntgenfotografier, has a chilly beauty, and in the soundtrack to Thornton's ”Cut From the Liquid to the Snake” included an interviews with an eyewitness to the Hiroshimamassakern that is chilling in its objectivity.
Such details will be vilopunkter in a hyperstressad media machine that continuously – and for a maximum of up-to-date – churning out an abundance of information, I don't know what to do with.
Is it intended that we should hear what is said in the mumlet from the where the car radio? We'll try to decipher the microscopic notes on the paranoide strålningsspanaren Horst Ademeits polaroid pictures, and read the endless text about sheep and cable cars in the ”Sheep Machine Redux”? I unfortunately get the feeling that it does not really have any significance.