NOAH BARKERa room like any other

A room like any other is entered from the street amidst some commemoration. This ambient looking back inflects the space with memory and misconception, like the extension of the wrong wall reconfiguring the layout closer to itself two decades ago. In this misremembered room is a phantom crowd that gathered to greet a novel new building. “Transparent, open, flexible, crowded, user friendly” (2018) — the structure they celebrate is a response to prior demands. The echo loops from beyond a Screen Adaptation (2018)[ed. 1 of 3] that compresses the entrance. A second edition filters an excerpt of coded lighting, In Lieu of a View (2017). Components 12-26 of 48, only apparent as a diffuse cloudscape of hues, substitute the recent scene of food trucks and tech workers outside. With daylight, the plane illuminates an interior Redevelopment Zone (2018). Previously such carpeted areas have served as a ground for reconsidering past narratives. Here the zone hosts a “De-commissioned Cuba Libre Assembly Line” (2018).

Noah Barker lives and works in New York, NY. Recent solo exhibitions include Eclair, Berlin, (2017) AndNow, Dallas, (2016); First Continent, Baltimore, MD (2015). Recent curatorial projects include Une Chambre Comme Les Autres, Sydney, Sydney, (2018); A Few Open Systems, AndNow, Dallas, (2017); encore mode, Lodos, Mexico City, (2017); International Currency, Lodos Contemporáneo, Mexico City, (2015).

1.Noah Barkera room like any other, 2018site specific wall extensiondimensions variable

2.Noah BarkerIn lieu of a view, 2017Roscolux gels swatchbookdimensions variable (1 to 48 neon tubes)[present excerpt/components 12-26: AFICTIONALUNITY]unique

3.Noah BarkerScreen Adaptation, 2018screen made of Spandex, wood - for wall, window or ceilingdimensions variableEdition of 3

4.Noah BarkerDecommissioned Cuba Libre Assembly Line Clock , 2018programmed led-sign100 x 20 x 5 cmunique

5.Noah BarkerScreen Adaptation, 2018screen made of Spandex, wood - for wall, window or ceilingdimensions variableEdition of 3

6.Noah Barker«Transparent, Open, Flexible, Crowded, Userfriendly», 2018digital sound file on audio CD, Muji wall mounted CD player 60 min, looped / 6.8 x 6.8 x 1.6 inchesEdition of 3

7.Noah BarkerRedevelopment Zone (grey - 4:3), 2018grey carpet RAL 7001dimensions variableunique

8.Noah BarkerDecommissioned Cuba Libre Assembly Line Tray, 2018powder-coated steel tray, Duralex glasses, Coke cans, bottle of Rum, limes30 x 75 x 151 cmunique

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Noah BarkerJoy, 2018framed digital pigment print on Satin Premium paper 270 gr.without frame 41,27 x 55 cm (ratio 4:3)Edition of 10

Joy brings together a still from Rosellini’s last film shot January 31st,1977 at the Beaubourg opening and a still from Dziga Vertov’s film named «a film like any other »

Noah BarkerIn lieu of a view, 2017Roscolux gels swatchbookdimensions variable (1 à 48 tubes néon)[present excerpt/components 12-26: AFICTIONALUNITY]unique

Each light is a letter of morse code whereby dots are communicated by single strips and dashes are two strips from a sample swatch book of gels so that none of the colors repeat. The sentence reads : There exists a fictional unity referred to as the present. The work is an adaptable set. The lights may be dispersed across many spaces and not all need to be used. At Air de Paris components 12-26 are excerpted: A 12 F 13 I 14 C 15 T 16 I 17 O 18 N 19 A 20 L 21 U 22 N 23 I 24 T 25 Y 26 (A fictional unity).The gels on lights are the ornament of an apparatus of attention: universal lighting in the specifically non specific sanitary white cube of modernity. They do not really disturb the whiteness of the light. The title refers to a temporal orientation, divergence and fragmentation of simultaneous realities, that composes the contemporary (this is expanded on as a fictional plot in the video Prologue, 2015, from which the sentence is taken), in lieu of the future oriented, planned, temporality of modernism from which specific modes of attention and critical frameworks developed. Placing the lights in the window makes this a literal spatial metaphor: a view is disrupted. It should also recall the cinema, the collectivization of a audience as a mass in distraction.

Noah Barker«Transparent, Open, Flexible, Crowded, Userfriendly», 2018digital sound file on audio CD, Muji wall mounted CD player 60 min, looped / 6.8 x 6.8 x 1.6 inchesEdition of 3

Preview sound: https://soundcloud.com/airdeparis/noah-barker-transparent-open-flexible-crowded-userfriendly-2018/s-GdPby

A crowd can be heard from a wall mounted MUJI CD Player. This crowd is a mutable plot. They fill the space with absence. They are in a fourier, a protest, a bar, leaving a factory, entering a house of culture. This model cd player was first used in Soundtrack for Development for the first Okayama Art Summit which played jingles at the entrance of each venue. The source of the audio Rosellini’s last film shot January 31st,1977 at the Beabourg opening. It is a 1 minute loop of the crowd entering the structure for the first time. The title can be thought as a description of the Pompidou and a slogan for institutions from May, indeed it is a quote from Rebecca J. DeRoo’s book The Museum Establishment and Contemporary Art: The Politics of Display in France after 1968.

Noah BarkerScreen Adaptation, 2018screen made of Spandex, wood - for wall, window or ceilingdimensions variablesEdition of 3

This work can be installed alone or paired with other works like In Lieu of a View. Its most common iteration would convert a window to a screen, other installations can be considered in correspondence with the artist. Simply the screen substitutes a horizon or a view from a room with a light source that is a backlit shadow catching screen.

Noah BarkerDecommissioned Cuba Libre Assembly Line Clock, 2018programmed led-sign100 x 20 x 5 cmunique

https://vimeo.com/273929853password: nhvideo

«we each had more drinks everyday than the lies told by a labor union during an entire wildcat strike»Guy Debord, 1978

Noah BarkerDecommissioned Cuba Libre Assembly Line Tray, 2018powder-coated steel tray, Duralex glasses, Coke cans, bottle of Rum, limes30 x 75 x 151 cmunique

Noah BarkerRedevelopment Zone (grey - 4:3), 2018grey carpet RAL 7001dimensions variableunique

Noah Barkera room like any other, 2018site specific wall extensiondimensions variable

Noah Barker (California, 1991)

Education

School of the Art Institute of Chicago — BFA, 2013

Solo

A room like any other, Air de Paris, Paris, 2018 Redevelopment of a Soundtrack, Éclair, Berlin, 2017 A Projection in the DDF, And Now, Dallas, 2016 Prologue: Divergence Motor/Albatross Alarm, First Continent, Baltimore, 2015 Production Courtyard, Lodos Contemporáneo, Chicago, 2013

Group Fantasy is a place where it rains, Fanta, Milan, 2018 Schreibtischuhr, Meyer Kainer, Vienna, 2017 Metropolis, Simon Lee, New York, 2017 New Normal, The Hangar, Beirut, 2017

Se nos cayo el teatro, Lodos, Mexico City, 2016 Cos only difference can bring back my friend curated by km temporar, 83 Pitt St, New York, 2016 Lonesome Wife curated by Attilia Fattori Franchini, Seventeen, London, 2016 開発/Development curated by Liam Gillick, Okayama, Japan, 2016 Noah Barker, Rémy Zaugg curated by Timothy James Kelly, Chicago, 2016 Noah Barker, Benjamin Horns, Hannah Levy, Carlos Reyes, Eric Veit, Rear Window, New York, 2016 presented by Exo Exo and Lodos, Exo Exo, Paris, 2016 [TWO PERSON] Ver Lento, Centro de la Imagen, Mexico City, 2016 X Bienal de Nicaragua curated by Oliver Martinez Kandt, 2016 Material Art Fair, Lodos Contemporáneo, Mexico City, 2016 Beneath a Thawing Lake, Dark Arts International, Mexico City, 2015 d h c m r l c h t d j, Paregrine Program, Chicago, 2014 Lift With Your Legs, Charlotte Street Foundation, Kansas City, 2014 Free Paarking, Free Paarking, St. Louis, 2014 Are you thinking about Atlantis?, curated by Komplot, Parrallel Oaxaca, Oaxaca, 2014

Curatorial

Still Life, Sydney, Sydney, 2018 Architecture of Storage, Deutsches Architektur Zentrum, Berlin, 2018 (“processed by”) A Few Open Systems, AndNow, Dallas, 2017

Encore Mode, Lodos, Mexico City, 2017 International Currency, Lodos Contemporáneo, Mexico City, 2015

Material Art Fair, Lodos Contemporáneo, Mexico City, 2014 Awards and Fellowships

SAIC BFA Fellowship, 2013 SAIC Presidential Scholarship, 2011-13

Bibliography

Kron, Cat. “Critic’s Picks: “A Few Open Systems,” Artforum.com, June, 2017

Sophie Knezic. “The Okayama Art Summit: A New Triennale for Japan,” Broadsheet, Vol 46 No 1, March 2017

Barker, Noah. “Studio for Propositional Cinema at Swiss Institute,” Mousse Magazine. moussemagazine.it/studio-propositional-cinema-swiss-institute-new- york/. 2017

Beasley, Mark. “Projecting an Island From Another,” Mousse Magazine, n. 54 Summer, 2016

Barker, Noah. “Dora Budor, ” CURA. Magazine,“ Spring/April, 2016

Dupuis, Dorothée. “International Currency, Lodos / Mexico City,” Flash Art, July 24, 2015, flashartonline.com/2015/07/scott-reeder-cameron-rowland-liam- gillick- lodos-mexico-city/.

Wick, Jacob. “Economies of Resignation,” Bad at Sports, June 19, 2015, badatsports.com/2015/economies-ofresignation/.

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