What kind of shape can life on the border take when recorded ‘live’ for three months; life recorded ‘live’ on the border between desert and river, between voice and vision, between body and specimen, between life and death, between West Texas and Northern Mexico?

Spontaneous, staged, and overheard conversations, music from gas station bathrooms and concerts in small town bars, docent tours through art installations, and objects encountered in desert treks: this exhibition brings together an ethno-fiction audio-drama created from three months of continuous recording, with the objects that influenced its scenario. Ethno-fiction uses ethnographic fieldwork methods, informant interviews, and performance improvisation to cooperatively script fiction with people, objects, and landscapes. Participant performers, objects, and geographies contribute to shaping their own fictional personas so that they can play the part of ethnographic informants, material evidence, and research-territories in RK-LOG episodes.

Better to Lose Your Head than Use It is Episode Two of RK-LOG, an epic artist novel that follows near-future incidents in the afterlife of the fictional biological specimen labeled ‘RK’. The remains of RK manifest as different parts of the body depending on both the qualities of the landscape where episode research is based, and on the art and architecture at the center of RK-LOG fieldwork. RK-LOG fieldwork always takes place in territories experienced as plastic thresholds. Plastic thresholds are explosive, transformational territories that change the bodies of crossers by being changed by bodies-in-crossings.

A para-euchronic world—a world turning alongside, but out-of-sync with our own—took form over the course of five years of RK-LOG fieldwork in the Presidio-Chihuahua borderlands where minimalist Donald Judd’s artist museum, The Chinati Foundation/La Fundación Chinati was built in the 1980s. Judd retrofitted structures from a World War II era prisoner-of-war-camp for a complex he called his “platinum-iridium meter” of the contemporary. In the para-euchrony of RK-LOG, Box 63 from Judd’s 100 Works in Mill Aluminum (1981-1986) meets R.L. Chacon’s Spanish Civil War account (1938) of anarchist and artist Alphonse Laurencic’s designs for a torture cell based on modernist art theory. The resulting object, known to investigators as the Radiant Barrier, is a sensory deprivation chamber used by the fictional ‘RK’ during mid-twenty-first century borderlands experiments on hyperthymestic superior rememberers. Experiments on superior rememberers were taking place in mobile laboratories called land-yachts. These land-yachts were docked in the desert an hour from Chinati, a forgotten monument of late twentieth-century art that had come to be called Chiniti. Superior rememberers used Chiniti installations in rites of forgetting called Fuch 4 Chiniti.

Special Event: Thursday May 25th 4PM – 10PM
Durational Sculpture and Audio-Drama Screening
Structural and Materials Engineering (SME) Building, SME 142 and
Visual Arts Presentation Lab, SME 149 (Gallery & Auditorium)
Food and Refreshments will be served

For appointments to experience RK-LOG Episode One Car-Cinema in Sorrento Valley, San Diego,e-mail Emily Verla Bovino at: ebovino@ucsd.edu

Mobile Irony Valve (MIV) is an anagram of artist and art historian Emily Verla Bovino (EVB, b. 1980). EVB's life-long project is the epic ethnographic fiction RK-LOG, an artist novel that follows incidents in the afterlife of a fictional biological specimen labeled 'RK'. Artistic research uses encounters with objects, experimental replications of objects, art historiography, ethnographic fiction, and experiments with materials to engage with parallel worlds and other invisible, but perceptible dimensions. MIV projects stage encounters among objects to engage the bodies of viewers in object exchanges. They engage with the theory of objects as ‘organ projection’ and with the claim from studies in human evolution that object-aggregations were critical to cognitive development in humans. MIV projects have been produced in the US-Mexico borderlands between Texas and California since 2010. Recent works include PERP (Gulf Labor Artists Coalition); Makro-Scripts (Robert Walser Zentrum, Bern); and RK-LOG: On Promissory Futures and Speculative Pasts (Viafarini, Milan). Writings have been published in academic journals, small presses and international art magazines; exhibitions, residencies and fellowships have been hosted by Fieldwork: Marfa (Texas), Zentrum Paul Klee (Bern) and SOMA (Mexico City). The exhibition RAD BAR PLA THR is part of EVB's doctoral dissertation defense at the University of California, San Diego in Art History, Theory and Criticism (concentration in Art Practice; specialization in Anthropogeny) on the concept of the ‘plastic’ in art history, art practice, artist writings, and philosophy.

Directions to the Structural and Materials Engineering (SME) Building from within UCSD campus: The main entrance is off of Matthews Lane, the road that runs along the Price Center, the Powell Structural Components Lab, and the High Bay Physics Building. It is behind the Visual Arts Facility.

Directions to the Structural and Materials Engineering (SME) Building from outside UCSD campus: From I-5, take the La Jolla Village Drive exit, and go west, then make a right on Villa La Jolla Drive. For metered parking, go straight into the Gilman Parking Structure (at the corner of Gilman and Russell Lane) where metered parking is available on the 1st and 2nd levels. From the Gilman Parking Structure, walk north on Russell Lane, to the end of the street, then turn right (east) on Lyman Lane. You will see the SRMD building on your left. Immediately right after also on your left is the Structural and Material Engineering (SME) building.