Joseph Nechvatal's nOise anusmOs Installation

Yuting Zou (author)

Chapter of: Speculations 3(pp. 507–510)

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Title	Joseph Nechvatal's nOise anusmOs Installation
Contributor	Yuting Zou (author)
DOI	https://doi.org/10.21983/P3.0010.1.19
Landing page	https://punctumbooks.com/titles/speculations-iii/
License	https://creativecommons.org/licenses/by-nc-sa/3.0/
Copyright	Zou, Yuting
Publisher	punctum books
Published on	2012-09-03
Long abstract	Black is the “color” of undivided nothingness and simplicity that has yet been penetrated by light. Black is immanent to itself. Entering the Galerie Richard, black was arguably my instant impression of Joseph Nechvatal’s nOise anusmOs installation, for most of this new series of paintings are unified by a black background. Against the black backdrop are complicated webs of alternating red and white, they suggest many ambiguous and provocative images of corporeal surfaces. Here, sfumato plays a role in slightly reducing the contrast of colors by adding a smoky and subtle layer to the otherwise pixelated images. The entire room is filled with immersive noise, from the visual noise (digital virus) inside the pictorial frame to its audial extension into the ambient space through the “viral symphony.” Bathed in a continuity of noise, it appeared to me that the overall composition of this body of work was more sparse and plural than before, and more speculative.
Page range	pp. 507–510
Print length	4 pages
Language	English (Original)

Black is the “color” of undivided nothingness and simplicity that has yet been penetrated by light. Black is immanent to itself. Entering the Galerie Richard, black was arguably my instant impression of Joseph Nechvatal’s nOise anusmOs installation, for most of this new series of paintings are unified by a black background. Against the black backdrop are complicated webs of alternating red and white, they suggest many ambiguous and provocative images of corporeal surfaces. Here, sfumato plays a role in slightly reducing the contrast of colors by adding a smoky and subtle layer to the otherwise pixelated images. The entire room is filled with immersive noise, from the visual noise (digital virus) inside the pictorial frame to its audial extension into the ambient space through the “viral symphony.” Bathed in a continuity of noise, it appeared to me that the overall composition of this body of work was more sparse and plural than before, and more speculative.