THE LAST SHOT CLOCK
DESTER SINISTER

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Dexter sinister, The Last Shot Clock, 2018, edition of 16 copies, 23 x 10 x 10 cm, 7-segment led display set on a black steel box.
The Last Shot Clock (multiple) is a small, electronic clock based on an idiosyncratic counter originally designed for La Biennale di Venezia 2013 and since reconstructed for a series of exhibitions and performances over the intervening five years.

The first version of the clock in Venice used custom-programmed microchips to alter the display of time on two electronic basketball scoreboards as a work for the Lithuania and Cyprus pavilion. The next prototype was produced one year later in 2014 as a stand-alone electronic LED message board for an “Work in Progress”, an exhibition at the Contemporary Art Center in Vilnius, Lithuania. A pair of clocks were hung at either end of the interior courtyard and used as a time-travel vehicle in a performance by Dexter Sinister. In 2015, the clocks were included in “I’ll be your interface.*”, a Dexter Sinister exhibition at Hessel Museum of Art, Anondale-on-Hudson, New York. Later in 2015, the pair of LED clocks were part of “On a Universal Serial Bus”, a solo exhibition at Kunstverein München, where they formed a setting for a repeat performance of the one in Vilnius, one year later. The next version of the clocks was produced as a small software and included on “Universal Serial Bus”, an electronic collection of Dexter Sinister work published on a memory stick by Sternberg Press, Berlin. The most recent instance for the current exhbition is a small electronic 4-digit 7-segment display produced as an open-edition multiple.

The Last Shot Clock (multiple) uses a limited alphabet of two characters, “O” and “o” to count down backwards from 15 to 0 using binary notation. Binary is the default language of computers where digits have only two possible vaules, either “on” or “off” (“0″ or “1”, “O” or “o”). In typical base-10 notation, the number thirteen uses the positions of its two digits to produce a total. “13” in base 10 means “1 ten” plus “3 ones”. Thirteen in binary, or base-2, notation is represented as “1011” and is construced as “1 eight” plus “0 fours” plus “1 two” plus “1 zero”. In the language of The Last Shot Clock, thirteen is “OoOO”.

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DEXTER SINISTER – MEET THE TETRACONO
14.06.2018 - 30.07.2017

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In 1965, Italian artist and designer Bruno Munari released the Tetracono with an event and exhibition at the Danese Milano showroom, inviting spectators to “. . . meet the Tetracono” as if it was a person. Instead Tetracono is a multiple product, an austere 15-cm black steel cube housing four aluminum cones, each painted half-red and half-green, designed to spin at four distinct speeds on an 18-minute cycle. Its function is to “show forms while they are in the process of becoming.” Developed from a 6-month fellowship at the American Academy in Rome, this setup features a rotating installation of 4 posters upstairs and a refreshed inventory of specific design titles in the bookshop downstairs, together with a short background video. Limited edition silkscreen posters announce the future exhibition project by Dexter Sinister at the beginning of 2018 in the COLLI independent space.

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DEXTER SINISTER
STAMPA PROGRAMMATA

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Dexter Sinister, 2017, silkscreen print on matte coated paper Burgo Satin 115 gsm, 100 x 70 cm, limited edition of 50 numbered and signed copies. Produced for the exhibition “…Meet the Tetracono”, 2017. BUY NOW
The Tetracono is a commercial product and art edition designed in 1965 by Bruno Munari for Danese Milano. It is an austere 15-cm black steel cube housing four aluminum cones, each painted half-red and half-green, and designed to spin at four distinct speeds on an 18-minute cycle completing a slow transition from green to red. Its function according to Munari is to “show forms while they are in the process of becoming.”

This screenprint uses the 4-color Cyan-Magenta-Yellow-Black printing process to capture 4 distinct moments in this 18-minute cycle in one composite image. The Cyan plate is taken from 3 minutes into the 18-minute cycle. The Magenta plate is taken from 6 minutes into the 18-minute cycle. The Yellow plate is taken from 9 minutes into the 18-minute cycle. The Black plate is taken from 12 minutes into the 18-minute cycle. Printing all four plates on top of each other produces a kind of “time sandwich,” the impossible image of the Tetracono as it changes.

DEXTER SINISTER

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BIOGRAPHY
Dexter Sinister is the compound name of Stuart Bailey and David Reinfurt. Dexter Sinister works as a publishing imprint and an exhibiting artist. Dexter Sinister is also the name of their basement space on New York’s Lower East Side, which operates as a “just-in-time workshop and occasional bookstore.” The workshop is intended to model a “just-in-time” economy of print production, ine realities of large-scale publishing. Dexter Sinister have increasingly been involved in broader gallery and museum projects, most recently at the Centre d’Art Contemporain, Geneva; Whitney Biennial, Venice Biennial New York; The Kitchen, New York; and Somerset House, London. In 2006, Dexter Sinister established a workshop in the basement at 38 Ludlow Street, on the Lower East Side in New York City. The workshop intended to model a ‘Just-In-Time’ economy of print production, running counter to the contemporary assembly-line realities of large-scale publishing. This involved avoiding waste by working on-demand, utilizing local cheap machinery, considering alternate distribution strategies, and collapsing distinctions of editing, design, production and distribution into one efficient activity. In 2011, together with Angie Keefer they set up “The Serving Library”, a not-for-profit cooperatively-built archive that assembles itself by publishing. The project’s engine is Dot Dot Dot’s successor Bulletins of The Serving Library – a journal that circulates as freely downloadable PDFs as well as a biannual print edition. Reinfurt and Bailey decided to make the catalogue the third issue of their journal Bulletins of the Serving Library, which continues the legacy of Dot Dot Dot, their “previous house journal which ran for ten years and twenty issues.” The catalogue/issue acts not as a compendium but a companion piece with thirteen essays, articles and visual works. It begins with “MMMMMMMMMMMM…,” by Andrew Blum, which appeared in The New York Times in 2003 under the title “The Modern’s Other Renovation.” It’s about MoMA’s history of logo redesign, beginning with the controversial 1966 decision to lower the upper case “O” and continuing to Yoshio Taniguchi’s subtle 2004 redesign. (Did you know that the little “o” was initially so unpopular that it wasn’t officially used for twenty years?)
WORKS
Dexter sinister, Stampa programmata, 2017, CYAN, 100 x 70 cm, framed, unique.

DEXTER SINISTER, STAMPA PROGRAMMATA, 2017, 100 X 70 CM, SCREENPRINT IN CYAN, FRAMED, UNIQUE.

DEXTER SINISTER, STAMPA PROGRAMMATA, 2017, 100 X 70 CM, SCREENPRINT IN CYAN + MAGENTA, FRAMED, UNIQUE.

DEXTER SINISTER, STAMPA PROGRAMMATA, 2017, 100 X 70 CM, SCREENPRINT IN CYAN + MAGENTA + YELLOW, FRAMED, UNIQUE.

DEXTER SINISTER, STAMPA PROGRAMMATA, 2017, 100 X 70 CM, SCREENPRINT IN CYMK, FRAMED, EDITION OF 50.

LAST SHOT CLOCK, 2018, EDITION OF 16 , CUSTOM PROGRAMMED MICROCHIP ON 7 DIGIT DISPLAY, WITH GLOSS BLACK STEEL BOX 23 X 10 X 10 CM.

WATCH SCAN 1200 DPI, 2015, EDITION OF 50 COPIES, 100 X 70 CM

 

YES YES YES ALTERNATIVE PRESS 66′ – 77′ FROM PROVO TO PUNK – DALLAS, DEXTER SINISTER, EXPERIMENTAL JETSET, WILL HOLDER, PAULINA KERLEROUX & ADELA SVOBODOVA, PRILL VIECELI CREMERS, STUDIO HATO, BATIA SUTER.
18.04.2015 - 06.06.2015

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From the relationship between the primary publications, Dutch Provo (first issued in ’65) and the indirect derivations, the English publications and vast flourishing American scenario, the project is a study of this vast exo-publishing, especially in the field of visual graphics, beyond their highly politicized contents. The path that starts from the beat-hippie utopias and ends in 1977, the year of Punk, the last revolution before the post-modern alienation. Starting from this research opens the show YES YES YES on contemporary graphics / printing scene. Indeed from the “master” magazines eight collective of artists / graphic designers were invited to interpret this alternate and deviant code. Interventions, dedicated and specific by Dallas, Dexter Sinister, Experimental Jetset, Will Holder, Pauline Kerleroux & Adéla Svobodová, Prill Vieceli Cremers, Studio Hato, Batia Suter translate this matter into art posters and / or printed matter projects produced in limited edition with local artisans / craftsmen of printmaking. Thus the exhibition offers two main sections: on the ground floor, a display of specific posters editions / typographic works on paper designed by contemporary artists inspired by this original material of alternative press; in the gallery basement, a chronological selection of 1966-77 counterculture publications, zines, newspapers, free presses from the European scene to the vast American east / west coast landscape. The aim is to highlight the visual-type-graphic surface of extraordinary magazines and underline the exchange between Europe-America as a central passage for a shared cultural heritage to be transmitted and document in contemporary publishing scene.
The exhibition will include the presentation of the hefty exhibition catalog, the real collection of extensive research and storage, a special project of “Concrete Provo” zine designed and edited by the Dutch collective Experimental Jetset and YES YES YES website, a project that makes available online the historical material and the “alternative contemporary works” produced for the exhibition. LINK TO THE BOOK

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