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Kart:
Study
The boxes on Kart are either blank, layered, or from a variety of present
locations. Some are the boxes I have traveled with from place to place.
They are left alone as remnants or re-branded with symbols to form a cohesive
meld of discarded and reused present everywheres with future pervasive
brands: Bechtel, Suez, Lockheed Martin, GE, Exxon (all essentials and
commodity-driven companies) represented through their signs as powerful
forces. If this is supposed to be a sampling of boxes that describe this
world, the excess of these oligopolistic company labels explains their
lock on commodities.
Recreated daily, Kart expounds on rules learned by Breton’s 1924
Surrealist Manifesto: Dictated by the thought, in the absence of any control
exercised by reason, exempt from any aesthetic or moral concern. Kart
is covered in braided rope and symbolic language, threaded around and
into each other, holding the bundles together and telling a story about
the throes of technology, the assumed and shifting identities of cultures
and individuals, global economic and cultural tensions, survival and mobility.
For the owner, Kart is a mobile livelihood. It is a metaphor for expansion,
and at the same time a personal, Sysiphusian reality of struggle through
change. Through the myth and reality of cargo cults (brought on by war
machines) and through symbols that are the only remnants of language as
we know it today, Kart describes colonialism in its future form.
A driver,
a bum, a myth, a nomad, a noone.
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