> Bright Cave takes place on whenua belonging to Kāi Tahu, Waitaha, and Kāti Mamoe iwi.
>You are an online (offline) corporeal bundle reading this data on a screen.
>You are an offline (online) corporeal bundle holding this page of oil and tree cellulose in the gallery.
> Bright Cave contains clay, Papatūānuku, wool, readymades, dye, textiles, paint, flowers, monitors, words, handmade paper, karakia, time, games, anxiety, kawakawa, captured rain, GIFs, sound, distress symbols, recycled materials, code, queerness, and friendship.
> Bright Cave is an exhibition about the materiality of art making in a time of socio-ecological crisis. The assembled works make a play between disembodiment and tactility, but ultimately resist a neat IRL/URL distinction in favour of an “earth-based” continuum. In some respects Bright Cave is asking what it means to make work about socio-ecological crisis (the earth, biodiverse species – including humans) with the very materials of the earth.
>The para-curatorial events—through films, talks and presentations— are intended to draw out the materiality of the Internet (e-waste, server farms, subterranean cables, “The Cloud”), the materiality of digital art practices and digital dissemination of art works, to highlight socio-ecological issues that are at once localised and globalised, and to counterpoint “crisis” with “remediation.”
>Repurposing Jane Bennett’s proposition above, Bright Cave asks: what does it mean to live as earth, to live with the awareness that we are earth?