Olivia Kan-Sperling on BERNADETTE CORPORATION at Greene Naftali for The Paris Review
The cosmos’ contents fell out from something once smaller than a coin.
(At first there was only energy, then came matter; a single force broke apart into four distinct ones; etc. as the whole thing expanded outwards.) =
There’s conservation in this set––all of this stuff is continuously interchanging and interpenetrated.
A particle exists at different locations at once, in a blur form. Only when you go to measure it does one location step up as being real. =
Progressively, science’s breakthroughs discover that all this stuff packs up again.
Stuff, forces thought to have no relation are discovered to be the parts of one or the same thing.
Progressively equations are simplified, reduced.
There are coins in the show. A cosmos of them. Round things. That recently have taken a sharp tumble in value. Arrayed thus, what futures can be seen in them?
Glyph penny plinths are procession owning the past… multi-panel wall works are eternal present escaping flash.
There are fields of eraseboard, that in their whiteness contain all possible markings. Some one will appear there, impermanently.
Past, present, future are all here at once.
A massive amount of energy exists in a tiny bit of matter.
Packing it back up reverts to the energy form.
BERNADETTE CORPORATION at Greene Naftali reviewed by Martha Schwendener for The New York Times