26 Dec THE UNRESOLVED COLLECTION – An Exploration into 2020’s Reprogramming of Our Lives
IDF shares Miami-based, contemporary art and design-focused, Tile Brush Gallery‘s exhibition entitled The UNRESOLVED Collection, a collaboration between Geovanna Gonzalez and Jonathan Gonzalez. 2020 has certainly pushed most of the population to restructure their homes into work and living spaces. The changes made have not only affected how we adapt to our physical space but all our mental space. Our sleep cycles, our time management, our leisure periods – all have been confined, all have been reprogrammed. The boundaries between work and leisure, between labor and rest, between public and private, are more compromised than ever.
Gonzalez & Gonzalez collaboration on the UNRESOLVED collection explores how design and art are complicit in that reprogramming, and how they can act as tools of resistance. The object of each piece in the collection is a tool of creative labor. The iconography is derived from forms that are understandable to everyone (ladder; floodlight; pencil; eraser). The new readings offered by Gonzalez & Gonzalez, their reprogramming of these recognizable objects, merge the iconic formal qualities of the “original” objects with concepts relating to the precarity of creative labor.
“…By operationally reprogramming everyday objects, we reshape both their use and meaning; by extension, we want to challenge the very concept of creative labor.”
The collection makes visible the ways in which tools and programs (from pencils to screens, chairs to software) are used to firmly resolve and repose us, to sit us down, to tie us to capitalist function. As GeoVanna Gonzalez says, “We want UNRESOLVED to question work, labor, equity, and inclusion. By operationally reprogramming everyday objects, we reshape both their use and meaning; by extension, we want to challenge the very concept of creative labor.”
The new readings of these designs challenge the function of labor-based objects, and labor itself. Where the original stepladder was intended to climb, to be used to reach and retrieve, to extend the human body’s capacity to organize and store goods, the new ladder has been liberated of such burden. The UNRESOLVED ladder is now a place for rest, communing, display, and dialogue. The ladder has been unresolved.
As well as its usual noun function, unresolved in this show operates as a verb. The pieces work to unresolve intention, to entangle meaning, to complicate and question expectation. Inspired by objects with a highly refined purpose, Gonzalez & Gonzalez reference cast concrete fence posts in South America (Brazil, specifically); steel and wood trusses; street and highway lamps. These are forms, textures, and intentions that bear the responsibility of labor, the reminder of its pervasiveness. Everything has to be made by someone.
As Jonathan Gonzalez says, “We don’t like to impose; we think instead of freeing a form from its former self. The objects are available to be read for these new purposes, or merely because you like the way they look. They can be resolved or unresolved by the viewer however you want. This liberation of forms is integral to the work; it recovers some of our humanity, our autonomy; helping us to find again a slow space; to rediscover – to unresolve – what it means to be in control of our life.”