Gianni Manhattan Gianni
Manhattan
Living Rooms
Kiki Furlan
Sensory experiences stay with us, in memory and matter, for indeterminate periods of time. What might otherwise be considered as a mundane sight, commonplace object, or expected experience—belonging to childhood, quotidian rite or one’s sentimental education—somehow lingers in our consciousness only to slowly, eventually, alter the way in which we perceive the world. Such things, like bites of the Proustian madeleine, first loves, and frights, certain stories, and visions, i.e., stuff caught in the net, often in the periphery of immediate experience, gradually come to reveal a location at the more unlocatable ends of the mind—not only as memories or recurring thoughts, nor as mere impressions, resurfacing with indifference in the line of thought, but in more transformative experience of the interruptive return: past sights irrupting in mind as insight.

In Kiki Furlan’s Living Rooms, coin-operated attractions recalled and re-sourced from shopping malls, or other familiar non-sites, like airports, grocery stores, or gas stations are returned from memory’s mist to the exhibition space, dislocated from their ‘proper’ place, function, and use-value, into a context that asks us to re-consider such insights. To twist the meaning of the ride’s inner meaning in the pure fun of homonymic association, viewers are drawn inside the site that grants new life to what’s in sight—on view: namely, the mind, as scripted site, per the attraction. And so, as a kind of “living” room, a space alive with all kinds of uncanny forms, reconstituted from the “real” as material thoughts, in desire’s momentum, the force of the imagination.
2024 04 25 Gianni Manhattan 00091 Web
25.04.24—25.05.24
GIANNI MANHATTAN, Wassergasse 14, 1030 Vienna
> Installation views
Sensory experiences stay with us, in memory and matter, for indeterminate periods of time. What might otherwise be considered as a mundane sight, commonplace object, or expected experience—belonging to childhood, quotidian rite or one’s sentimental education—somehow lingers in our consciousness only to slowly, eventually, alter the way in which we perceive the world. Such things, like bites of the Proustian madeleine, first loves, and frights, certain stories, and visions, i.e., stuff caught in the net, often in the periphery of immediate experience, gradually come to reveal a location at the more unlocatable ends of the mind—not only as memories or recurring thoughts, nor as mere impressions, resurfacing with indifference in the line of thought, but in more transformative experience of the interruptive return: past sights irrupting in mind as insight.

In Kiki Furlan’s Living Rooms, coin-operated attractions recalled and re-sourced from shopping malls, or other familiar non-sites, like airports, grocery stores, or gas stations are returned from memory’s mist to the exhibition space, dislocated from their ‘proper’ place, function, and use-value, into a context that asks us to re-consider such insights. To twist the meaning of the ride’s inner meaning in the pure fun of homonymic association, viewers are drawn inside the site that grants new life to what’s in sight—on view: namely, the mind, as scripted site, per the attraction. And so, as a kind of “living” room, a space alive with all kinds of uncanny forms, reconstituted from the “real” as material thoughts, in desire’s momentum, the force of the imagination.
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