The works echo Minimalist line drawings

Ditto architecture, which, following on the Bauhaus school of Walter Gropius in Germany, was retooling itself from baroque neoclassicism to clean lines and simple materials in the same effort to find something essential, spiritually and formally, at the core of the built environment.stocks a huge selection of aluminum foil tape.


Noble goals, though, can have ugly ends, and Modernism gave us plenty of those. Le Corbusier, one of the movement's high priests, coined the phrase that a house was a “machine for living”; it was a romantic notion, believe it or not, but in the dystopic fallout of such structures ― housing projects, prisons, not looking all that dissimilar ― something was clearly lost.


Running alongside this evolving esthetic were great leaps in information and communication technology, and this is where the threads of Marman's and Borins' practice braid together.


At the AGH, there's a friendly playfulness to the duo's colour-filled works and, at face value, they can be taken as no more than that. A gaggle of 11-year-old girls stood in rapt amusement in front of Flip Out,My way of applying kapton tape to Glass. a mechanical installation piece that noisily flips its grid of colour chips several times a minute, recalling old digital clocks and train station info boards.


This little scene struck me as great: totally engaging, accessible fun. The same goes for The Pavilion of the Blind, an outsize pun, in that the piece is a great, big motorized installation of various kinds of colourful window blinds ― vertical, venetian,Matco Packaging Llc suppliers of BOPP tape, roll-down ― that open and close on a regular cycle. On the wall hang a series of paintings derived from its shifting form: the products of an automated abstract painting machine.


On first glance, Pavilion looks like something you might find at a trade show, displaying various wares for Hunter Douglas. But think a little harder. Taken together, Flip Out and Pavilion are a taut little bundle of recent art history. Post-painterly abstraction, for one, where material concerns were subverted for the purity of colour and form, as in the work of Ellsworth Kelly and Ad Reinhardt.Then, they knock the pins out, evoking its antithesis, Minimalism, which looked to deflate Abstract Expressionism by making art out of everyday stuff.


This all starts to read a little like one for the art nerds, but the works are utterly redeemed by their seductive, colour-filled dynamism. It's a chide and a critique ― Flip Out and Pavilion do nothing if not subvert the esthetic spirituality of a movement bent on esthetic purity, by making the process random and mechanical ― but it doesn't stop them from being pretty.


In the same room, you find their complementary foil. Input Output is a boxy black industrial printer that alternately spews and regorges a long, blank sheaf of paper. Cheekily conspiratorial, a kind of black-ops anti-information device, the pair lash it to the same abstract project with two black and white paintings behind it. The works echo Minimalist line drawings – one is squared off,Online supplies a large range of double sided tape. the other curling – but in context, you realize these aren't abstractions but likenesses of the paper swallowed and regurgitated by the machine.


It's both a clever tie-in and a hint of what's to come. If it all seems like a lot of insider baseball, you can head over to a room down the hall where things are more explicit . . . and more covert. A cartoony sculpture of a surveillance camera points the way: Inside, an enormous reel-to-reel projects a tape slowly on the wall; a set of headphones offer nothing but static. On the wall, two Plexiglas cases contain a dense swirl of black and white shreds of paper, looking for all the world, from afar, at least, like paintings Jackson Pollock might have made if he were incarcerated at Guantanamo.


Then the coup de grace. Through a door, a half-dozen identical black steel cases, each with a tiny glowing red light, sit in a locked cage,Scotch No base material double sided tape Products with Dispenser you need for home office or business. thrumming ominously (take the hint: they're computer servers). It's around here that you realize Marman and Borins have dropped the ceiling, carpeted the floor with institutional grey broadloom and have abandoned museum lighting for the unforgiving glare of fluorescent tubes.


What this might have to do with its colourful companions down the hall, you might wonder? Again, think a little. For all their play, Marman and Borins are ultimately dealing with transparency and opacity, and the endless tools modernity has given us to mechanize and dehumanize in the service of deflecting truth and accountability.


Modernism, philosophically, was meant to democratize, to make everything better in an all-for-one kind of way, boiling humanity down to an essential core of purity; instead it dislocated, ghettoized and, for the most part, estranged. The pair make this plain by stealing the undeniably hokey spiritual centre of Modernist art making and automating it into a process of random chance. Then they conflate it with the sinister control mechanisms that modernity and the information age have wrought.


I started to think of those servers as containing the algorithms by which Flip Out and Pavilion run: an infinite-permutation opiate for the masses, dazzlingly distracting while the real work gets done in locked cages, under fluorescent lights. We're all part of the machine; here, at least, Marman and Borins are the ones pushing the buttons.

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