Devin King and Stephen Lapthisophon on BadatSports
March 9, 2010
posted by Caroline Picard
Before Stephen Lapthisophon moved to Dallas in 2008, he worked and taught in Chicago for over 25 years. He’s represented in Dallas by The Conduit Gallery, has shown work recently in San Antonio at Unit B, will be doing an installation soon for The Henderson Art Project and currently teaches art and art history at The University of Texas at Arlington. I spoke with him over a few weeks last summer about his installation practice.
Through this, I’ve been interested in how his installations, paintings, and text/image essays effectively erased old conceptions of relationships between objects and their histories. As you’ll see, we spend a bunch of time trying to nail down exactly what he’s getting at. Lapthisophon says its an attempt to rethink our surroundings. I’m not sure we ever answered the question.
In Graham Harman’s recent book on the French sociologist of science Bruno Latour (Prince of Networks: Bruno Latour and Metaphysics), Harman describes Latour’s philosophy as “play[ing] out amidst microbes, tape recorders, windmills, apples, and any real or unreal actors that one might imagine.” Moreover, Harman continues, “Latour has no real interest in the pathos of depth: though his actors can always surprise us, these surprises always emerge at the surface of the world, not from some veiled underworld ruled by the shades of [philosophers, theologians, or poets.]” Against Harman’s description of Latour, Lapthisophon welcomes the irrational and poetic in our own responses to his work–Lapthosophon’s work with disjunctive elements reinforces Latour’s image of actors (be they objects, ideas, pictures, or personas) and their surprising emergence at the surface of a world of shifting relations.
You can read the whole interview by going here.