Jeremy Shaw’s Liminals can be seen at The Store Studios 180 The Strand, until 10th of December 2017. It is the first off-site exhibition by Berlin based KÖNIG Galerie and forms part of their recent expansion to London.
Liminals, a work of Vancouver-born artist Jeremy Shaw, takes the form of a fictional documentary made not more than a couple of decades into our future. From the narration, we reconstruct some of its historical context, although the focus of the documentary is on ‘periphery altruist cultures’. The Liminals are one such sub-cultural group, who are observed by the posited filmmakers with a detached fascination (and a style) reminiscent of the early 20th century ethnographies.
It is far from clear who is the intended audience, because humanity’s days, the documentary reveals, are numbered. Technology is to blame, specifically, choosing to let computation replace ritual. Kieslowski’s warning in the first episode of Decalogue against elevating computers above faith has clearly gone unheeded, and in 2024 all spiritual experiences are replaced by VR via a technological innovation called ‘The Unit’. ‘The Singularity Disaster’ follows in 2033, and soon after ‘The Announcement’ of ‘the countdown to extinction’ is made.
Amongst the general apathy that ensues, radical groups emerge, as they always do – observes the film’s narrator – during the Millenarian periods of history. The most radical of these groups believe that a possible salvation lies in the ideas of ‘pre-Unit’ science fiction writer Samuel Delany, specifically the paraspace:
a specific paraspace could serve as a transitory zone for humanity – an intermediate area between the physical and the virtual where a generative incubation period towards our next phase in evolution could take place. They refer to this paraspace as The Liminal.
The documentary is an exposition of the methods by which The Liminals are trying to reach that paraspace.