Art Hub Copenhagen September 7.-28. 2022
A Centicube is a pedagogical tool to introduce an idealized world which is predictable, easy to
calculate and where everything can be systematized and defined. Laurits Gulløv (b.1994) applies
the logic of the Centicube in his installation Measures against Mass and meditates on the question, as to whether the world may be more than the sum of its definitions. The illusion of a logical and structured world can only exist if one disregard everything that does
not behave as the order ascribes. And above all, it requires to avoid dealing with the consequences
the ordered world blindly produces. In this narrative, order and visibility is defined through its
opposites: blindness and chaos. Not blindness as an invisible entity but blindness caused by an
unwillingness to see. Measures against Mass consists of two parts. The first being a sculpture build of enlarged centicubes casted in jesmonite. The cubes are inhabited by slugs marking their traces with resistant slime. These Spanish slugs, existing whether we see them or not, remind us of a non-constructed world ignorant to human dominance. This slimy, hermaphroditic, boneless, excrement-eating creature is a concentrate of what we do not like welcoming into our culture. But the more control man has taken over the environment, the more uncontrollable the environment seems to react. Yet the Spanish slug and the centicube have something in common.
They can both be seen as invasive – the slug physically, the centicube culturally. On a philosophical level we can say that they are mutually dependent: the logic of the centicube had never been established if the world had not appeared slimy and invading. And the invasive Spanish slug had never spread so tremendously if the orderly regimes of the modern world had not brought it here with its freight transport, facilitated it with its warmer climate and with its monocultures decimating the living conditions of the slug’s natural enemies such as the hedgehogs and the toads. The second part of the installation is a video projection on insect net (4.57 min) titled The minor fiction of the passive dirt. The images originate from the film Ferngully (1992) and show the scene where the destructive spirit Hexxus escapes the tree that has kept it imprisoned for years.
The spirit is released when the felled tree is getting cut and Hexxus seeps out to the world as an
unintended product of civilization’s systematic overconsumption of the environment. This
destructive spirit can be seen as a passive outcome produced blindly by the ordered world.
The exhibition is curated by Arrange the Ants
Photos by Rine Rodin