CP1 Contemporary

CP1 Contemporary

Critical Space

CP1 Contemporary is an artist-run space located in an abandoned squash court. In this imagined space we offer curation and criticism of contemporary art that engages sport in a variety of ways. Proposals are welcome from artists, athletes and curators who wish to explore these themes and the potential of this imagined, yet critical space.


Many of the images contained within CP1 Contemporary exhibitions are bordered at the top and bottom of the frame by thin red lines. Not only do these attempt to set apart a distinct visual space from the blue-dominated perimeters of Facebook Square, but they serve a symbolic function as well.

When serving the ball in a squash match, the middle red line painted on the court's front wall acts as a delineator: balls served below that line are considered foul while those served above would constitute fair play. If the service is the opening to the dialogue of gestural play, then consider the red lines in CP1 Contemporary exhibitions to also serve as delineators in this opening of ideas.

Does the service gesture drop foul or fall within the parameters of fair play? Does the middle line of the squash court frame the top or bottom border of the curated artwork?

CURRENT: Speed and Politics: A Tribute to Paul VirilioUPCOMING: Collective+MemoryUPCOMING: Skin TectonicsUPCOMING: Re:visioning Versus

title cards for the first four exhibitions on the cp1 contemporary program

Curatorial Statement

Though the museum or art gallery space has been under attack for some time as being enclosed, politicized and elitist in economic or theoretical senses, one of the attributes they still in fact retain is their volumetric quality. These are three-dimensional spaces and we are three-dimensional bodies who inhabit and potentialize them.

The move to our current space in Facebook Square flattens out the volumetric aspect of the gallery or museum experience considerably. The technics offered by the album format also impose a sort of linearity to the aesthetic program, and in this sense we might consider the exhibitions presented here more as visual mixtapes from the kinetic archives of sport and art.

This sort of curatorial exercise must not be understood as a “liberatory” art practice in the spirit of those other movements mentioned earlier, then, but rather as a tentative compromise with the prevailing forces of marketing and governance in this flattened space to redirect the flows of exposure in a potentially meaningful fashion.

In short, CP1 Contemporary may not be an art gallery at all. It may not be of any interest to the jaded art market connoisseur or the tired cosmopolitan critic. It may simply be an imagined space for those few who are curious about art and also happen to like sport as well.


This space attempts to interrogate a grey zone within both "the art market and intellectual property" as well as "art spectatorship" in our curatorial process. If one created a series of links to art works and posted them as text, this would not be considered problematic. But if one were to take the image proper and post it elsewhere, it does potentially become problematic all of a sudden, and yet it is also a digital file constituted wholly by alphanumerical text.

This is further complicated by the fact that if one takes a screenshot of an image one is technically using a "virtual camera" — which then modulates the dynamics of ownership and dissemination. If it is in the grand electronic consciousness that is the internet, then we have all "thought" these images already, so to speak.

As such, we want to tread lightly and fluidly as the CP1 Contemporary space emerges. We want to have the utmost respect for the artists, and yet push forward new ways of thinking about what is possible in expression.

The way we have decided to approach this sort of "remix curation" is to simply go ahead without explicit permission — in the sense of a "politics of touch" (cf. Erin Manning) — and enact this subtle violence because of a deep respect for these artists and their works. We link back to the original page to acknowledge our sources and allow viewers to perhaps be exposed to other works by the same artist.

If your work has been presented here and you do not want it to be, simply contact us and we will be happy to remove it immediately. Otherwise, we hope you like the homage and thank you very much for continuing to create.



pinkeye — concept for gallery wall installation — 2011

Traffic Shaping

Traffic Shaping

Idea for a Conceptual Art Project, No.22:

1. Some math: m is the artist standing within a large embryonic volume made of translucent latex; L is the hose of an industrial vacuum; vt is the rotation speed of a 360-degree camera placed at the origin of the circle, facing the artist.

2. The latex embryo is filled with air to approximately 75% of capacity.

3. The artist begins walking around in a counter-clockwise circle, tethered by the hose to its origin. A switch is flicked on the vacuum, causing air to be slowly removed from within the embryonic volume.

4. The artist continues to walk around the circle at a speed synchronized with the rotation of the camera.

5. Once the airspace inside the embryo is nearly empty, the artist attempts to locate the breathing apparatus.

6. The performance ends when the artist can no longer walk.


keywords: yoshinori sunahara, horse tether circle, latex vacuum bondage, 360 degree swivel camera, critical art ensemble

eighth, eighth, eighth

flesh∞notebook∞network, part two

"Noology, which is distinct from ideology, is precisely the study of images of thought, and their historicity. In a sense, it could be said that all this has no importance, that thought has never had anything but laughable gravity. But that is all it requires: for us not to take it seriously. Because that makes it all the easier for it to think for us, and to be forever engendering new functionaries. Because the less people take thought seriously, the more they think in conformity with what the State wants. Truly, what man of the State has not dreamed of that paltry impossible thing — to be a thinker?" (Deleuze and Guattari, ATP, p.376).

real estate shortage

they look like bullet holes . . . 3/8" ≅ 9mm

the holes are not stable "structures". there is already a form of "erosion" taking place.

my pen rapidly slips into the holes if i am going too fast and not paying close enough visual attention to my gesture. quite often i am nervous to write near them, and my available "surface area" for writing becomes significantly diminished . . . am i afraid of the signifier disappearing down their gravity wells?

fragments of paper keep falling out and sticking to my skin or my clothing. my fingers always feel these raised edges as they pass over the surface. turning pages catch on the raised edges of the hole (ruptures of skin tectonics) and must be gently pulled apart.

at other times i plunge happily into their depths . . . the reader may reconstitute the message from context at some later moment.

the deeper the holes penetrate and the more that matter-flow is pushed sideways, the more the topography of the surface is changed or altered. writing, or that simple passage around the holes, becomes far more difficult. striation is disrupted in the process for the gestural act proper, but can we also suggest that it is disrupted for the tracking of metric space itself?

pages stick together at the holes

Notebook as machine

There is a qualitative difference between remixing or breaking the machine that is the book proper, and doing the same for one's personal notebook. The former is often understood as the culmination of a long process involving writing, editing, typesetting and printing phases, often under the rubric of a separate "publisher" entity. The notebook, on the other hand, is usually the beginning of a process — the moment of poiesis when thought emerges from the foldings of the flesh to find expression in gesture and inscription.

This notion of writing the body has a lengthy history in feminist scholarship, as seen in such diverse writers as Hélène Cixous, Katherine Hayles and bell hooks. In their own unique ways we might suggest each decribes practices of writing intensively — that is, of capturing affective thought in as urgent a fashion as possible such that thinking and feeling are no longer easily understood as discrete concepts. One captures thought through writing while it is still felt in the body, nullifying any possible understanding of mind-body dualism in the act of recording or making memory prosthetic.

In this sense the notebook becomes a most intimate expression of what Fornssler refers to as affective cyborgism: that is, an understanding of technologies as inseparable from our bodies — indeed they are generated by them — yet more or less proximate to the fleshiness of our lived corporeality. Our notebook is qualitatively different than other books precisely because of this proximity to the body. In this differential proximity, as well as in the interface proper, lie the political and ethical moments of our always-already cyborgian beings.

But these beings should more adequately be referred to as becomings, for they are also emergent from the relations of matrixial intersubjectivity between bodies. This may be understood both in terms of material and immaterial networks and prosthetics, as well as in terms of resonant waves between organic entities. Hence, the political and ethical moments are made explicit precisely in how our technologized selves negotiate a fragile and contingent commons, tottering between repressive, militarized and integrative systems of profit and control on the one hand, and opportunities for agency, poiesis and resistance on the other.

In other words, the "same" technology may offer dramatically different conditions of possibility precisely in how its embodiment enters into movements with other bodies to create space and time. The affective cyborg, then, is not a preconstituted body as such, but rather an always emergent part-subject that becomes individuated as it enters into contingent networks of relation.

It is relation that breaks the machine of the flesh∞notebook. Our ontology is ontogenetic. Our technology is not deterministic.

* * *

"But noology is confronted by counterthoughts, which are violent in their acts and discontinuous in their appearances, and whose existence is mobile in history. These are the acts of a 'private thinker,' as opposed to the public professor: Kierkegaard, Nietzsche, or even Shestov. Wherever they dwell, it is the steppe or the desert. They destroy images."

Male Art


Idea for a Conceptual Art Project, No.22:

1. Buy an old Remington typewriter, paper, and plenty of carbon-copy sheets.

2. Write a letter of application to the National Ballet of Canada's apprentice programme (sponsored by RBC). Mail it directly to the Artistic Director of the company.

3. Tell them that you are 38 years old, you cannot touch your toes, you are slightly overweight, your joint flexibility is poor, your breathing stamina is spotty, your weak upper body strength prevents you from lifting other dancers, and your overall body expressivity is generally restrained and uninteresting.

4. But tell them that you have an athletic background which allows you to readily grasp new motor skills. Tell them you will work very hard to overcome any deficiencies between yourself and the other dancers.

5. For the requested photo, attach that picture of you doing Natarajasana during yoga class — you know, the pose you're not very good at. It sort of looks like ballet.

6. In case you are unsuccessful in your first application, submit a new letter the following year. Update vital statistics accordingly.

7. Re-apply annually until either: a) you are successful, or b) seven years following your ddddeath.

8. Share all project correspondence with Sophie Calle upon completion.


flesh∞notebook∞network, superiority of analog

"There are no nomadic or sedentary smiths. Smiths are ambulant, itinerant. Particularly important in this respect is the way in which smiths live: their space is neither the striated space of the sedentary nor the smooth space of the nomad" (Deleuze and Guattari, ATP, p.413).

Holey Space (Notebook Study)"Smiths are not nomadic among the nomads and sedentary among the sedentaries, nor half-nomadic among the nomads, half-sedentary among sedentaries. Their relation to others results from their internal itinerancy, from their vague essence, and not the reverse. It is in their specificity, it is by virtue of their inventing a holey space, that they necessarily communicate with the sedentaries and with the nomads (and with others besides, with the transhumant forest dwellers)" (Deleuze and Guattari, ATP, p.414).Holey Space (Notebook Study)"Holey space itself communicates with smooth space and striated space. In effect, the machinic phylum or the metallic line passes through all of the assemblages: nothing is more deterritorialized than matter-movement. But it is not at all in the same way, and the two communications are not symmetrical" (Deleuze and Guattari, ATP, p.415).

three-eighths of an inch

sean smith, 3/8" drill bit, october 2010

3/8" 4'33"
(he thought Cixous might agree)

that is, a displacement of "power" relative to a displacement of "the body"?
(which is not to exclude other potential vectors of displacement)

both are contingencies of the affective cyborg.
(which is not to suggest they simply reproduce Fornssler's MIC and EFC: there are rather elements of both ideal types folded into each contingency)

poke the pen through the hole to see if it actually exists, Doubting Thomas

is it like getting a piercing?

body modification? or "self" mutilation?
i felt no pain (i moved too quickly)
there was the displacement of a certain shock-affect.
(or at least its imagined displacement)

psychowikigraphy: Pi (film) > trepanation > lobotomy > electroconvulsive therapy

the act of boring a hole in the material (or immaterial?) substrate both withdraws matter-flow from the hole in a reverse spiral fashion, as well as pushes other matter-flow to bulge slightly at the periphery. the wave of the drill bit in motion creates another wave. as a result the notebook is already more difficult to write in, its entire structure having been distorted. in other words, the mesh of striated space is already modulated in the act of creating the hole proper.

do we have holey space yet, smith asks?