Serpent Rain, 2016

Planetary Erotics, 2016

Horizon Crash, 2016


Multicultural Dread, 2015

Borrowed Scenarios, 2015

Sunshinism, 2015

Heart of Brightness, 2015

Caesium Forest, 2015


arjuna neuman






The infinity edge pool is a contemporary example of immersive borrowed scenery. Or more historically, the 'captured horizon' symptomatically reappears from Japanese Gardens in Monet's Water Lilies and turns into US abstract expressionism (Joan Mitchell marries Alan Greenspan), the curvature of LED screens mimicking the eye's shape, and the design of luxury infinity edge pools. The principle reaches its paradigmatic conclusion through neo-liberalism proper and its preconditions (the fall of the Berlin Wall, ecology's emergence, janus-faced libertarian utopias, network theory – all of which dissolve or 'capture' the horizon of politics).

Space seems to determine time when certain scenic compositions or scenario plans author or authorize the future (part of the totalizing, 'no alternative' feeling and realism of globalization). This process has an ancient precedence in geomancy (popularized now as Feng Shui with its imported yet distorted bites of Eastern Cosmology, everything is connected). The principle takes on its global character through the repeated representational (Western) yet spatial or scenic (Eastern) capture and choreography of the space/time axis – the horizon. For example, the anxiety derived from an absent horizon can be seen in the collective psychosis linked to drones and satellites with their aerial, all-ground view. Perhaps in contradiction, Bruno Latour describes the network of network capitalism as 'all edges', but a more accurate, albeit neurotic, description could be, the network is all horizons.

first presented at Beirut Art Centre, 2015