Jesse Jones, The Predicament of Man, 2010. single-channel video (16mm film with digital stills). 3 min. Courtesy of the artist. SeMA Biennale Mediacity Seoul 2014 Ghosts, Spies, and Grandmothers. Seoul Museum of Art. 2014
Jesse Jones, The Predicament of Man, 2010. single-channel video (16mm film with digital stills). 3 min. Courtesy of the artist. SeMA Biennale Mediacity Seoul 2014 Ghosts, Spies, and Grandmothers. Seoul Museum of Art. 2014
Jesse Jones, The Predicament of Man, 2010. single-channel video (16mm film with digital stills). 3 min. Courtesy of the artist. SeMA Biennale Mediacity Seoul 2014 Ghosts, Spies, and Grandmothers. Seoul Museum of Art. 2014
Jesse Jones, The Predicament of Man, 2010. single-channel video (16mm film with digital stills). 3 min. Courtesy of the artist. SeMA Biennale Mediacity Seoul 2014 Ghosts, Spies, and Grandmothers. Seoul Museum of Art. 2014
Using footage shot in an opal mine in Cobber Pedy, Australia, intercut with over a thousand still images that appear momentarily on screen, Jones subliminally contrasts the desolate landscape with flashes of often recognizable 20th and 21st century icons and events. The Predicament of Man creates an uneasy and foreboding slippage in time that hints at an apocalyptic future. Its title is borrowed from an essay in Limits to Growth by the economic think tank The Club of Rome in 1972. The Predicament of Man examines the consequences of exponential growth theories of late capitalism and how they may not only overstretch our resource carrying capacities, but also our sensory capacity to perceive reality itself. [Jesse Jones]
