{"id":58236,"date":"2017-10-19T10:53:13","date_gmt":"2017-10-19T08:53:13","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=58236"},"modified":"2017-10-19T10:53:13","modified_gmt":"2017-10-19T08:53:13","slug":"ed-atkins-old-food","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/ed-atkins-old-food\/","title":{"rendered":"I Spent Four Hours Inside Ed Atkins&#039; &quot;Old Food&quot; Show Hunting the Mysterious Shit Sandwich"},"content":{"rendered":"<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-58268\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2017\/10\/sophia-article-3.jpg\" alt=\"\" width=\"1500\" height=\"1000\" \/> Ed Atkins &#8220;Old Food&#8221;, 2017<\/p>\n<p>At only 35 years old, Ed Atkins is already something of a luminary in the contemporary<br \/>\narts scene. He has exhibited in the Serpentine Gallery, the Hirschorn, MMK, and<br \/>\ncurrently has an exhibition, entitled \u201cOld Food\u201d, at Martin-Gropius- Bau here in Berlin.<br \/>\nMost of Atkins\u2019 work consists of digitally rendered video environments, where human<br \/>\navatars live out Samuel Beckett-esque scenes interspersed with printed or spoken poetry.<br \/>\nHe buys the avatars pre-built and then animates them with facial recognition software,<br \/>\noften blending expressive signifiers in jarring and disturbing ways (imagine weeping eyes<br \/>\nand a gentle smile). \u201cOld Food\u201d consists of five rooms filled with screens showing<br \/>\nAtkins\u2019 work: videos running on loops of varying lengths. Huge racks of old costumes from the Deutsche Oper create a corridor system that lends a bit of dimensional order to the space.<br \/>\nThe poster for the exhibit shows a sandwich with tomato, lettuce and cheese, topped with<br \/>\na bunch of babies, and finished off with a big brown splotch of what one can only assume<br \/>\nis shit. The first time I went to see the show, I couldn\u2019t find the sandwich anywhere, and I<br \/>\nleft with the suspicion that it was buried somewhere within a video loop. What if the<br \/>\nvideo loops weren\u2019t as short as they seemed, and were in fact hours long, with footage<br \/>\nyou could only see every few hours? Sleek Mag sent me back to spend four hours inside<br \/>\nthe exhibit, to crack the secrets of \u201cOld Food\u201d and record my experience. The following<br \/>\nis a diary of those four hours.<\/p>\n<h3>12:22 \u2013I get to the gallery.<\/h3>\n<p><img decoding=\"async\" class=\"aligncenter size-full wp-image-58306\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2017\/10\/piano-room.jpg\" alt=\"\" width=\"1500\" height=\"1000\" \/><br \/>\nThere are two screens in the first room, the first of which is long and vertical and<br \/>\nalternates between three animated figures \u2013 an old monk, a baby, and a young boy<br \/>\ndressed in a garish purple &amp;amp; orange Victorian outfit with frills on the wrists.<br \/>\nThe second screen is something like 4 x 6 meters, and shows a mostly bare, white room,<br \/>\nwith a piano against the left wall and a big round hole in the right wall. The scale feels<br \/>\npretty close to life-sized. There\u2019s hay scattered on the ground in front of the hole, and a<br \/>\ncreepy dragging, clunking noise coming from outside it.<br \/>\nNothing happens for about ten minutes.<\/p>\n<h3>12:48 \u2013\u00a0The maudlin boy jumps in through the hole in the wall.<\/h3>\n<p>He staggers over to the piano, sits down, and starts to play.<\/p>\n<div class=\"entry-content-asset videofit\"><iframe title=\"Ed Atkins \u201eOld Food\u201c (Teaser)\" width=\"720\" height=\"405\" src=\"https:\/\/www.youtube.com\/embed\/FXPbIJlF0W8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>The music is very slow. A plaque explains that the entire piece consists of only 24 notes,<br \/>\neach spaced eight seconds apart. Eight seconds is the amount of time that it takes for the<br \/>\nhuman auditory system to \u201cforget\u201d a note (we experience melodies as strings of<br \/>\nconnected notes). So the process of listening to these notes, and failing to string them<br \/>\ntogether, is itself a process of forgetting.<\/p>\n<h3>12:53 \u2013The song finishes, and the screen goes black.<\/h3>\n<p>When it lights up again, the screen shows the bare white space again. I walk to the next<br \/>\nroom. This one has two screens, side-by- side, each the same size as the one in the room<br \/>\nbefore.<br \/>\nThe left screen is on a loop where every minute, the maudlin boy appears on the crest of<br \/>\nthe hill and staggers down the path and off the left side of the screen. On the right screen,<br \/>\na television sits on top of the piano, playing the movie Frankenstein.<\/p>\n<h3>13:04 \u2013 Two things happen.<\/h3>\n<p>Instead of the boy coming over the hill, this time it\u2019s a<br \/>\ngiant baby, suspended in the air, with its feet buffing along the ground. On the far<br \/>\nleft side of the screen, a figure in a cloak starts dragging itself along the path,<br \/>\ntowards the piano in the trees.<br \/>\nThe baby floats into the cabin and starts flailing around like a terrible puppet, scattering<br \/>\nbooks and glass decanters. By the time it stops, the cloaked guy has gotten to the piano<br \/>\nin the trees and flung one arm onto the keys. The baby glides down in front of the<br \/>\ncabin\u2019s piano, and they both start to play.<br \/>\nThe song is the same as the one in the first room, and the sound between the rooms<br \/>\nbleeds enough that you can tell the videos are playing at the same time. They\u2019re<br \/>\nsynchronous, if not in technical harmony.<\/p>\n<p class=\"size--small\"><img decoding=\"async\" class=\"wp-image-58270 size-full\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2017\/10\/sophia-article-1.jpg\" alt=\"\" width=\"1500\" height=\"1000\" \/> Ed Atkins &#8220;Old Food&#8221;, 2017<\/p>\n<h3>13:09 \u2013\u00a0The screens go black.<\/h3>\n<p>Still no sandwich.<br \/>\nThere\u2019s a sort of fade-in effect as light filters back in, the television comes back on, and<br \/>\nthe boy starts loping down the hill once more.<\/p>\n<h3>13:19 \u2013\u00a0The baby \/ cloaked figure thing happens again, and the song starts to play.<\/h3>\n<h3>13:25 \u2013The screens go black.<\/h3>\n<p>So the videos are on a roughly 15-minute loop, and for the first ten minutes basically<br \/>\nnothing happens, you\u2019re staring at static space. The mini-loops (the boy running through<br \/>\nthe field) disguise the larger ones, allowing the viewer to believe that they\u2019ve seen the<br \/>\nfull loop after just a minute. Plenty of people pause for only a moment or two before<br \/>\nmoving on, totally missing the action.<br \/>\nThe fact that Atkins lines the videos up with one another means you need at least twenty<br \/>\nminutes to actually see both of them, half of which you\u2019ll spend watching an empty<br \/>\nroom. There seems to be symmetry between this and the slow notes of the song \u2014 a<br \/>\nsense of things forgotten, or never known.<\/p>\n<h3>13:49 \u2013 I\u2019m pretty sure one of the guards is watching me.<\/h3>\n<p>I\u2019ve been in the same room for almost an hour, so I guess that makes sense. Maybe<br \/>\nlingering for too long is a red flag to art guards. Maybe it indicates you\u2019re getting ready<br \/>\nto attack the art, like steeling yourself before a dive.<br \/>\nI move on. The next two rooms both have single vertical screens, one with a baby<br \/>\nstanding in the rain, and one with the monk figure.<br \/>\n<img decoding=\"async\" class=\"aligncenter size-full wp-image-58284\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2017\/10\/baby-monk.jpg\" alt=\"\" width=\"1500\" height=\"1000\" \/><\/p>\n<h3>14:23 \u2013\u00a0That guard is totally following me.<\/h3>\n<p>Every time I move from one room to the next, he does the same. A couple of times we<br \/>\nmake vaguely chilly eye-contact. Though, then again, you probably don\u2019t get to see<br \/>\nmuch action as a museum guard, and I\u2019m as good a chance at generating some drama as<br \/>\nhe\u2019ll get today. I wonder what these guards think about the art they protect, and how that<br \/>\nchanges after being around it for days, weeks, months.<\/p>\n<h3>14:29 \u2013\u00a0The screens go black.<\/h3>\n<p>I go to the last room, where there\u2019s another vertical screen. This one features the maudlin<br \/>\nboy again, sitting on a stool, facing away. There\u2019s hay scattered on the ground and the<br \/>\nsame weird lurching sound from in the first big room, so maybe this is supposed to be the<br \/>\nspace outside the hole in the wall. Once a minute, the boy turns around and gasps.<\/p>\n<h3>14:34 \u2013 This time when the boy turns around, he looks at the viewer and asks, \u201cSir,<br \/>\nwho is all the dead?\u201d<\/h3>\n<h3>14:50 \u2013 \u201cSir, who is all the dead?\u201d<\/h3>\n<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-58269\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2017\/10\/sophia-article-2.jpg\" alt=\"\" width=\"1500\" height=\"1000\" \/> Ed Atkins &#8220;Old Food&#8221;, 2017<\/p>\n<p>So this video is on a fifteen minute loop too. At one point the boy jumps off the stool and<br \/>\nruns off-screen. I get the idea that maybe this is where he comes from when he jumps<br \/>\nthrough the hole in the first room, like it\u2019s a circuit, so I wait for him to run offscreen<br \/>\nagain and then jog back to the first room. The security guard follows me through two<br \/>\nrooms and then gives up.<br \/>\nWhen I get to the first room the screen is still showing an empty space, no kid. So there\u2019s<br \/>\nno \u201clarger\u201d circuit \u2013 or whatever that circuit is, it wasn\u2019t designed with a temporal<br \/>\nelement.<\/p>\n<h3>15:38 \u2013\u00a0Three and a half hours and still no sandwich.<\/h3>\n<p>I decide to Hail Mary this, and ask a guard if they\u2019ve seen it. It turns out the guards haven\u2019t seen the sandwich either. Also, they\u2019re all wearing<br \/>\nlittle green ear-plugs.<\/p>\n<h3>16:11 &#8211;\u00a0Everyone seems to have gotten the idea of lying down in front of the screens,<br \/>\nwhich is good.<\/h3>\n<p>My hip kind of hurts after standing for so long, so I decide to sit down, in front of the<br \/>\nscreen with the hillside. In the actual outdoors, the sun comes out from behind a cloud,<br \/>\nand the light in the gallery warms and lifts. I wonder for a second whether it might filter<br \/>\nthrough the back of the screen and show as a ray in the digital field. And no, the screen is<br \/>\npretty thick, light wouldn\u2019t do that. Still, the doubling effect is felt, that blurring of where<br \/>\none thing ends and the other begins.<\/p>\n<p class=\"size--small\"><img decoding=\"async\" class=\"wp-image-58267 size-full\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2017\/10\/sophia-article.jpg\" alt=\"\" width=\"1500\" height=\"1000\" \/> Ed Atkins &#8220;Old Food&#8221;, 2017<\/p>\n<p>Atkins doesn\u2019t seem to be all that interested in making one coherent point with Old Food.<br \/>\nRather, he establishes certain thematic nodes (embalmment, memory, disembodiment),<br \/>\nand lets the juxta-\/ contraposition do the rest of the work. It doesn\u2019t seem like there\u2019s a<br \/>\nloop any bigger than the 15-minute ones. I guess I\u2019m bothered by that, and not totally<br \/>\nsure where to place the idea that the main image advertising the show never actually<br \/>\nappears in it. A charitable reading might nod to the way this echoes the concepts of<br \/>\nidentifiers and forgetting, but I think it\u2019s more likely that he just didn\u2019t find a place for<br \/>\nthe sandwich clip to fit.<br \/>\nFortunately, that doesn\u2019t interrupt the show\u2019s emotional core: a deeply felt exploration of<br \/>\nremembrance, memory, traces of things past. I find myself repeating that line \u2014 \u201cSir,<br \/>\nwho are all the dead?\u201d It brings to mind all of the things that have happened that we\u2019ll<br \/>\nnever have any idea about. This is balanced against Atkins\u2019 avatars, which seem to be<br \/>\npretty much the exact opposite of \u201call the dead\u201d \u2013 though they\u2019ve never had bodies, or<br \/>\nlives, they exist, and we have to deal with them. They take up emotional space in the<br \/>\npresent in a way that the dead (or most of them) can\u2019t. And that leaves us \u2014 the living<br \/>\nones, imagining the dead while watching these avatars \u2014 to find ourselves somewhere in<br \/>\nbetween.<br \/>\n<em>Old Food is showing at the Martin-Gropius- Bau through 7 January 2018.<\/em><br \/>\n&nbsp;<\/p>","protected":false},"excerpt":{"rendered":"<p>The poster and early press material for Ed Atkin&#8217;s Exhibition &#8220;Old Food&#8221; all featured a disgusting-looking sandwich \u2014 which is nowhere to be found in the show itself. Is it hidden in one of the video installations?<\/p>","protected":false},"author":113,"featured_media":58296,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[11856,139],"tags":[9416,502,9417,9418,1420],"class_list":["post-58236","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sleek-art","category-art","tag-avatars","tag-ed-atkins","tag-martin-groipus","tag-old-food","tag-video-art"],"acf":{"main_category":null,"legacy":"1","exclude_from_ads":null,"hero_title":null,"subtitle":null,"hero":null,"teasers":null,"facebook_image":null,"related_articles":null,"next_article":null,"sleek_card_focus":null,"content":null},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>I Spent Four Hours inside Ed Atkins&#039; &quot;Old Food&quot; Show Hunting the Mysterious Shit Sandwich<\/title>\n<meta name=\"description\" content=\"The poster for Ed Atkins&#039; Exhibition &quot;Old Food&quot; featured a disgusting-looking sandwich \u2014 which is nowhere to be found in the show itself.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/ed-atkins-old-food\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"I Spent Four Hours inside Ed Atkins&#039; &quot;Old Food&quot; Show Hunting the Mysterious Shit Sandwich\" \/>\n<meta property=\"og:description\" content=\"The poster for Ed Atkins&#039; Exhibition &quot;Old Food&quot; featured a disgusting-looking sandwich \u2014 which is nowhere to be found in the show itself.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/ed-atkins-old-food\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-10-19T08:53:13+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Moses Hubbard\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"9\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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