neeraja d, ahmed ozsever
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A slash can be forward and backward. The forward slash is a marker of vicinity -- of inclusivity and exclusivity, of division and fraction, of affinity and difference, of proximity and difference.1 It is this vicinity that forms the core of n/a as an identity. The understanding of 'collaboration' as a mode of creating between artists falls a little short in its scope. It is to fill that small blank, or to extend that line of process further, that n/a wants to explore the possibilities offered by such punctuation and diacritical marks in English -- the language in common between them.

Trace as a verb and as a noun underpins the work. The two installations, You Can't Play Yourself Back and Phase (v), produce an immersive and experiential space where the viewer is constantly implicated. Language, implied narrative, temporality, and mapping converge upon works that cycle through time and function.

In the novel White Noise, Don DeLillo references a fictitious photographic touchstone: "The most photographed barn in America." The protagonists embark on a roadtrip to find it, only to arrive at the melancholy realization that neither the barn nor any photograph of it bears any significance. "They cannot see the barn, they have seen the signs." The signs' language contains the anticipatory projection of a barn, drawing on memory to collapse all experiences and images of barns to create a new composite image. No barn or photograph can fulfill the desire generated by this speculative composite. n/a is interested in encounters with this type of sign, a collapse of the language of writing and the language of image. The link between photography, memory, and subjective temporality creates expectation in those consuming the images. There is an implied promise between material and perception. n/a looks at this multilayered division in a durational and linear spectatorship.

Neeraja lives and works in Bengaluru, Ahmed in Chicago. n/a is sustained through correspondence.

1 As Derrida talks about encountering Schmitt in the vicinity of Heidegger -- "the vicinity, that is to say, both proximity and distance, difference and affinity."