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Bianca Barandun

MA work

O Time Thy Pyramids

(An number of possible languages use the same vocabulary; in some of them, the symbol library allows the correct definition a ubiquitous and lasting system of hexagonal galleries, but library is bread or pyramid or anything else, and these seven words which define it have another value. You who read me, are Your sure of understanding my language?)

Jorge Luis Borges, The Library of Bable, p.85

The core of my practice circuits around language. In particular how we encounter and interpret language. My main focus lies on the threshold where a language or code slips from being understandable to unintelligible. Growing up in a country where four different languages are spoken, made me aware of the difference and resemblance between words, structure and the rhythm of languages. The constant struggle of only being half able to understand a foreign language can lead to frustration as well as a greater freedom to play with language in an unconventional way. While imitating and playing with the parameters of a certain language, for example different intervals, or repetitive forms needed for a code or a language to be read efficiently. The question of how much information is required to recognize a language or code fascinates me. My motivation for making these works, has been to investigate which elements triggers us into reading or seeing code.

Cardboard, jesmonite and spray paint, are among my tools to transmit and build a language which contains repetition, structure and form. To me, solid elements like jesmonite represents an ancient form of communication much the same as the Rosetta stone. Whereby the spray paint reflects the current subculture of codes and language. While playing around with these materials and getting lost in language I always kept Jorge Luis Borges short story “The Labyrinth of Bable” in mind, which reflects on the infinity of word order and language leading almost into absurdity.

Info

  • MA Degree

    School

    School of Humanities

    Programme

    MA Print, 2017

  • The core of my practice circuits around language. In particular how we encounter and interpret language. My main focus lies on the threshold where a language or code slips from being understandable to unintelligible. Growing up in a country where four different languages are spoken, made me aware of the difference and resemblance of words, structure and the rhythm of languages. The constant struggle of only being half able to understand a foreign language can lead to frustration as well as a greater freedom to play with language in an unconventional way. While imitating and playing with the parameters of a certain language, for example different intervals, or repetitive forms needed to be considered for a code or a language to be read efficiently. The question of how much information is required to recognize a language or code fascinates me. My motivation for making these works, has been to investigate which elements triggers us into reading or seeing code.

  • Degrees

  • BA Illustration, HAW Hamburg, Germany, 2014
  • Exhibitions

  • Supercommunity, RCA Dyson Gallery, London, 2017; ずれた- Zureta, University of the Arts, Tokyo, 2017; Output, CGP Gallery, London, 2017; UKMA & Other Postgraduates 2017; Atkinson Gallery, Millfield, 2017; Edit Control, Hockney Gallery, London, 2016; Break L