Evidence of the Paranormal is an exhibition of questionable import, doubtful veracity and possibly misleading intentions. Featuring a selection of artists as unlikely as their generations and backgrounds vary, the works collected here are liable to suggest paranormal activity or occult resonances. From Charles and Ray Eames’ early filmBlacktop, which consists of quasi-abstract footage of a blacktop being washed, to the mute, unyielding promise of Becky Beasley’s post-minimalist sculptures, to Swedish painter Per Martensson’s diminutive portraits of vacant white-cube spaces not to mention the meticulously painted orbs on paper of New York-based artist Will Yackulic, such apparent banality seems to conceal some kind of occult content. Meanwhile, Danish Amsterdam-based photographer Marianne Viero’s unusual photos of rearranged hotel furniture, the floating sculpture of the Italian Berlin-based Luca Trevisani and Zagreb-based Goran Petercol light-and-shadow sculptural installation all seem to testify to a paranormal activity.
Whatever the case may be, these works do seem to be trying to be telling us something. But what? Are they transmitters? Supernatural hieroglyphics? Otherworldly jive? Or are they merely testifying to their own materiality and circumstances? Or maybe in the end, they are trying tell us something about meaning, about a certain compulsion to locate it somewhere, elsewhere, anywhere, at the cost of locating it in the ether, or on the astral plane. Or conjuring it up out of thin air. Even if what the are trying to tell us is something else altogether, entirely.