https://davidrueter.com/ https://davidrueter.com/img/_DSC5667-2-3000w.jpeg David Rueter Marissa Lee Benedict and David Rueter: a conversation between machines about Mallarmé, 2023 https://davidrueter.com/about/ https://davidrueter.com/static/marissa-lee-benedict-and-david-rueter.jpg Marissa Lee Benedict and David Rueter https://davidrueter.com/titles/the-kuramoto-model/ https://davidrueter.com/titles/the-kuramoto-model/kuramoto-vid/poster.jpg The Kuramoto Model, 2019 David Rueter, The Kuramoto Model, 2019, Installation https://davidrueter.com/titles/the-kuramoto-model/kuramoto-vid/master.m3u8 https://davidrueter.com/img/titles/the-kuramoto-model/1kff-lights16x9-hi-1200w.jpeg The Kuramoto Model The Kuramoto Model (lights, pre-distribution), 2012, Northern Spark, Minneapolis, MN, USA https://davidrueter.com/img/titles/the-kuramoto-model/1kff-ride-1920w.jpeg The Kuramoto Model The Kuramoto Model (midnight bike ride), 2012, Northern Spark, Minneapolis, MN, USA https://davidrueter.com/titles/drift/ https://davidrueter.com/img/titles/drift/drift-install-1920w.jpeg Drift Drift , 2013 (install photo), Sullivan Galleries, School of the Art Institute of Chicago, Chicago, IL, USA https://davidrueter.com/img/titles/drift/drift-launch-hi-2880w.jpeg Drift Drift , 2013 (process documentation), Sullivan Galleries, School of the Art Institute of Chicago, Chicago, IL, USA https://davidrueter.com/titles/mobile-vacation/ https://davidrueter.com/titles/walk-talk/ https://davidrueter.com/titles/barbed-wire-fence-telephone/ https://davidrueter.com/img/titles/barbed-wire-fence-telephone/barbed-wire-fence-telephone-1920w.jpeg Barbed Wire Fence Telephone Barbed Wire Fence Telephone , 2014, ARC Gallery, Chicago, IL, USA https://davidrueter.com/img/titles/barbed-wire-fence-telephone/_MG_3331-3000w.jpeg Barbed Wire Fence Telephone Phil Peters and David Rueter, Barbed Wire Fence Telephone, 2014, Wood, barbed wire, telephones, batteries, electrical wire https://davidrueter.com/img/titles/barbed-wire-fence-telephone/_MG_3178-2774w.jpeg Barbed Wire Fence Telephone Phil Peters and David Rueter, Barbed Wire Fence Telephone, 2014, Wood, barbed wire, telephones, batteries, electrical wire https://davidrueter.com/titles/i-can-only-see-shadows/ https://davidrueter.com/titles/i-can-only-see-shadows/icoss-excerpt-hls/poster.jpg I Can Only See Shadows, 2016 Marissa Lee Benedict and David Rueter, I Can Only See Shadows, 2016, Three-channel video https://davidrueter.com/titles/i-can-only-see-shadows/icoss-excerpt-hls/master.m3u8 https://davidrueter.com/img/titles/i-can-only-see-shadows/Petcoke-Installation-16-3000w.jpeg I Can Only See Shadows Installation view https://davidrueter.com/img/titles/i-can-only-see-shadows/Petcoke-Installation-18-3000w.jpeg I Can Only See Shadows Installation view https://davidrueter.com/titles/gary-lights-open-works/ https://davidrueter.com/img/titles/gary-lights-open-works/Gary-court-3000w.jpeg Gary Lights Open Works Gary Lights Open Works (installation view), 2018, Gary, IN, USA https://davidrueter.com/img/titles/gary-lights-open-works/gary-lift-exposure-corr-1200w.jpeg Gary Lights Open Works Gary Lights Open Works (installation view), 2018, Gary, IN, USA https://davidrueter.com/titles/dark-fiber/ https://davidrueter.com/titles/dark-fiber/darkfiber-hls/poster.jpg Dark Fiber, 2015-2018 Marissa Lee Benedict and David Rueter, Dark Fiber, 2015-2018, Site-adapted single-channel video installation https://davidrueter.com/titles/dark-fiber/darkfiber-hls/master.m3u8 https://davidrueter.com/img/titles/dark-fiber/Dark_Fiber-Venice-1920w.jpeg Dark Fiber Dark Fiber (video still), 2018, The 16th Venice Architecture Biennial, Venice, IT https://davidrueter.com/img/titles/dark-fiber/Dark_Fiber-Benedict_Rueter-Dark-Fiber-still-bridge-1920w.jpeg Dark Fiber Dark Fiber (video still), 2018, The 16th Venice Architecture Biennial, Venice, IT https://davidrueter.com/img/titles/dark-fiber/Dark_Fiber-IMG_7031-1920w.jpeg Dark Fiber Dark Fiber (installation view), 2016, EXPO Chicago, Chicago, USA https://davidrueter.com/img/titles/dark-fiber/Dark_Fiber-brussels-3000w.jpeg Dark Fiber Dark Fiber (installation view), 2015, Contemporary Art Brussels, Brussels, BE https://davidrueter.com/img/titles/dark-fiber/Dark_Fiber-Brussels-Venice.00_08_59_17.Still005-1920w.jpeg Dark Fiber Dark Fiber (video still), 2018, The 16th Venice Architecture Biennial, Venice, IT https://davidrueter.com/img/titles/dark-fiber/Dark_Fiber-Tijuana-1920w.jpeg Dark Fiber Dark Fiber (video still), 2018, The 16th Venice Architecture Biennial, Venice, IT https://davidrueter.com/titles/water-bottles/ https://davidrueter.com/img/titles/water-bottles/water-bottles-1920w.jpeg Water Bottles Untitled (water bottles) , 2018, Jan van Eyck Academie, NL https://davidrueter.com/titles/department-of-water-and-power/ https://davidrueter.com/titles/department-of-water-and-power/dwp-vid/poster.jpg Department of Water and Power, 2019 Marissa Lee Benedict and David Rueter, Department of Water and Power, 2019, Installation https://davidrueter.com/titles/department-of-water-and-power/dwp-vid/master.m3u8 https://davidrueter.com/img/titles/department-of-water-and-power/_DSC4024-2.tif-3000w.jpeg Department of Water and Power Installation detail - exterior, Van Eyck Academie, Maastricht, NL https://davidrueter.com/img/titles/department-of-water-and-power/_DSC3776.tif-1920w.jpeg Department of Water and Power Installation detail - blinds https://davidrueter.com/img/titles/department-of-water-and-power/_DSC3797.tif-3000w.jpeg Department of Water and Power Installation detail - blinds https://davidrueter.com/img/titles/department-of-water-and-power/_DSC3804.tif-3000w.jpeg Department of Water and Power Installation detail - blinds and water collection troughs https://davidrueter.com/img/titles/department-of-water-and-power/_DSC4005.tif-2553w.jpeg Department of Water and Power Installation detail - blinds and copper sulfate patches https://davidrueter.com/img/titles/department-of-water-and-power/_DSC3814.tif-3000w.jpeg Department of Water and Power Installation detail - water collection troughs https://davidrueter.com/img/titles/department-of-water-and-power/_DSC3906.tif-1920w.jpeg Department of Water and Power Installation detail - photographic drip catcher https://davidrueter.com/img/titles/department-of-water-and-power/DWP-lower.tif-3000w.jpeg Department of Water and Power Installation detail - photographic drip catcher and evaporation tray https://davidrueter.com/img/titles/department-of-water-and-power/screen.tif-987w.jpeg Department of Water and Power Screen shot of captured drop display https://davidrueter.com/img/titles/department-of-water-and-power/DWP-upper.tif-3000w.jpeg Department of Water and Power Installation detail - captured drop display screen and thermal sticker printer https://davidrueter.com/img/titles/department-of-water-and-power/_DSC3941-d.tif-3000w.jpeg Department of Water and Power Installation detail - thermal sticker printer https://davidrueter.com/img/titles/department-of-water-and-power/_DSC3984.tif-3000w.jpeg Department of Water and Power Installation detail - weather station display https://davidrueter.com/img/titles/department-of-water-and-power/_DSC4048-rotated2-0-33x-2416w.jpeg Department of Water and Power Installation detail - weather station display, video feed from Owens Lake, CA dust monitoring cameras https://davidrueter.com/img/titles/department-of-water-and-power/_DSC4027.tif-3000w.jpeg Department of Water and Power Installation detail - exterior context https://davidrueter.com/titles/repose/ https://davidrueter.com/titles/repose/repose-hls/poster.jpg Repose, 2020 Marissa Lee Benedict, Daniel de Paula, and David Rueter, Repose, 2020, Wood, steel, insulation foam https://davidrueter.com/titles/repose/repose-hls/master.m3u8 https://davidrueter.com/img/titles/repose/repose_DSC4441-3000w.jpeg Repose Repose , 2020, Arts Club of Chicago, USA https://davidrueter.com/img/titles/repose/repose-screensaver1-3000w.jpeg Repose Repose (still image of screensaver on gallery computer), 2020, Arts Club of Chicago, USA https://davidrueter.com/img/titles/repose/repose_DSC4520-3000w.jpeg Repose Repose (installation detail), 2020, Arts Club of Chicago, USA https://davidrueter.com/img/titles/repose/repose_DSC4590-3000w.jpeg Repose Repose (installation detail), 2020, Arts Club of Chicago, USA https://davidrueter.com/img/titles/repose/repose_DSC4619-3000w.jpeg Repose Repose (installation detail), 2020, Arts Club of Chicago, USA https://davidrueter.com/img/titles/repose/repose-animation-1200w.jpeg Repose Repose (still image from work process documentation), 2020, Arts Club of Chicago, USA https://davidrueter.com/img/titles/repose/repose-deposition-1764w.jpeg Repose Repose (still image from work process documentation), 2020, Arts Club of Chicago, USA https://davidrueter.com/titles/a-line-a-mollusk/ https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4841-3000w.jpeg A Line, a Mollusk A Line, A Mollusk entrance https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4633-2998w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Concentric Garages, 2021, Pen on paper, 22 x 30 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4735-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Concentric Garages, 2021, Pen on paper, 22 x 30 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4642-2998w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Mussels, 2020, Oil pastel and EXPO marker on Rite in the Rain Paper, 8.5 x 10.5 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4738-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Mussels, 2020, Oil pastel and EXPO marker on Rite in the Rain Paper, 8.5 x 10.5 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4654-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Delamination (Willamette Stone), 2021, Pen on paper, 22 x 30 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4655-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Logging Patent, 2021, Wax pencil and oil on Rite in the Rain 2mm grid paper, 8.5 x11 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4656-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Liquid management, 2020, Oil pastel and graphite on vellum, 12 x18 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4748-2998w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Liquid management, 2020, Oil pastel and graphite on vellum, 12 x18 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4657-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Divider (Eileen Gray), 2021, Oil, wax pencil, graphite, and gesso on MDF panel, 9 x 12 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4659-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Inverted Twittering Machine, 2020, Graphite, oil pastel, mounted carbon paper on Rite in the Rain paper, 8.5 x 11 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4661-2998w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Spiral Dust Collector, 2021, Pen on vellum, 11 x 14 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4663-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Brick Screens, Circulating and Stretching (Eileen Gray), 2021, Pen, oil, acrylic, and graphite on Rite in the Rain cardstock and vellum, 11 x 17 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4664-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Too, 2021, Wash methylcellulose on PET paper mounted on MDF panel, 9 x 12 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4667-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Delamination (Eugene, OR, US), 2021, Pen on paper, 22 x 30 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4669-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, But does it scale?, 2021, Pen on Rite in the Rain cardstock, mounted on MDF panel, 9 x 12 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4720-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, But does it scale?, 2021, Pen on Rite in the Rain cardstock, mounted on MDF panel, 9 x 12 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4670-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Out of Scope, 2020-2021, Oil pastel, EXPO marker, and graphite on Rite in the Rain paper, 8.5 x 11 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4672-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Fortification Theory #1, 2021, Pen on paper, 22 x 30 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4778-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Fortification Theory #1, 2021, Pen on paper, 22 x 30 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4674-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Jackdaw Drowning, 2021, Graphite, linseed oil, and pigment on PET paper, 8.5 x 11 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4676-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Oblique Sextant, 2020, Oil pastel and EXPO marker on Rite in the Rain paper, 19 x 23 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4679-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Market Will Manage, 2020, Pen on vellum, 12 x 18 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4682-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Foiled Again, 2021, Aluminum foil, rabbit skin glue, 12 x 16 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4683-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Fuck, 2019, Graphite on vellum, 16.5 x 11.8125 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4691-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Swiss Cheese, 2020-2021, Pen on paper, 22 x 30 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4692-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Water Works, 2020, Oil pastel, pen and watercolor pencil on Rite in the rain paper, 8.5 x 11 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4732-3000w.jpeg A Line, a Mollusk Installation view https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4688-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Infinite Radiator , 2021, Etched copper, 9 x 12 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4693-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Index/Accident, 2021, Pen and oil pastel on paper, 22 x 30 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4694-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Blow Mold, 2021, Wax pencil, graphite, oil pastel, oil on 2mm grid Rite in the Rain paper, 8.5 x 11 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4697-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Something I Scrawled, 2021, Pen on vellum, 11 x 17 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4698-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Shellac, 2018, Shellac and gouache on 1/4” isometric Rite in the Rain paper, 12 x 18 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4700-1200w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Chalked Oil, 2021, Linseed oil, calcium carbonate on vellum, 12 x18 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4702-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, MF, 2020, Pen and oil pastel on vellum, 12 x 18 inches https://davidrueter.com/img/titles/a-line-a-mollusk/_DSC4706-3000w.jpeg A Line, a Mollusk Marissa Lee Benedict and David Rueter, Vertical Sextant, 2021, Graphite, carbon paper, and oil pastel on Rite in the Rain paper, 19 x 23 inches https://davidrueter.com/titles/deposition/ https://davidrueter.com/img/titles/deposition/deposition-Trading-Floor-in-Session-Chicago-Board-of-Trade-1900-George-R.-Lawrence-Photographer-1200w.jpeg deposition / desposição Photograph of the trading floor of the Chicago Board of Trade, 1900 https://davidrueter.com/img/titles/deposition/deposition-everton-10-3000w.jpeg deposition / desposição deposition , at the 34th São Paulo Biennial, Brazil, 2021 https://davidrueter.com/img/titles/deposition/deposition-everton-06-3000w.jpeg deposition / desposição deposition , at the 34th São Paulo Biennial, Brazil, 2021 https://davidrueter.com/img/titles/deposition/deposition_11.11.21_November-11_MST-occupation-_DSC1262-3000w.jpeg deposition / desposição deposition , occupied by MST, at the 34th São Paulo Biennial, Brazil, 2021 https://davidrueter.com/img/titles/deposition/deposition_11.20.21_-BNegao-FBSP96611_34BSP_211120_LF_603-original-3000w.jpeg deposition / desposição BNegão performance, at deposition , at the 34th São Paulo Biennial, Brazil, 2021 https://davidrueter.com/img/titles/deposition/deposition-Neo-Muyanga-3000w.jpeg deposition / desposição Neo Muyanga com Coletivo Legítima Defesa, at deposition , at the 34th São Paulo Biennial, Brazil, 2021 https://davidrueter.com/img/titles/deposition/deposition-9.7.21_roger-bernat_veronica-veloso_maurilo-gaulish-FBSP84422_34BSP_210907_LF_132-original-3000w.jpeg deposition / desposição Artist Beatriz Cruz, organizer of the Conversaçōes (Conversations) programming series, hands out drawing supplies to an audience at deposition , at the 34th São Paulo Biennial, Brazil, 2021 https://davidrueter.com/img/titles/deposition/deposition-PXL_20210520_145039045-3000w.jpeg deposition / desposição A chunk of the former trading floor of the Chicago Board of Trade, en route to São Paulo, 2021 https://davidrueter.com/img/titles/deposition/deposition-packing-render-1920w.jpeg deposition / desposição 3D render of a container packing arragement for the pieces of the former corn commodities futures trading pit, 2020 https://davidrueter.com/titles/lamina/ https://davidrueter.com/titles/lamina/lamina-vid/poster.jpg lâmina, 2021 Marissa Lee Benedict and David Rueter, lâmina, 2021, Single-channel video installation, 2:00 TRT, Commissioned for the São Paulo project space um trabalho um texto (one work one text), lâmina is a one-night video work – a singular gesture – exhibited in parallel with a text by curator João Paulo Quintella. Documenting two hands, tentatively, awkwardly, bringing two pieces of 0.7 mm pencil lead (graphite) close enough to spark an electric carbon arc — an early form of spark lighting used for projecting films — before burning out, the work tightly loops together the history of moving image and its means of production. This tight loop loosens over the course of the evening with a pile-up of strange and unexpected encounters: between the congenial atmosphere of the project space and the passing audience on the street; between the humming fan of a digital projector and the roar of traffic; between the loud squealing kisses of tiny graphite pencil lead rods, powered by a motorcycle battery, burning into light; and between the projected image of a beach at the mouth of a major colonial shipping channel, and the threshold of a garage door. The exhibition contract for lâmina dictates that this version of the video (not including documentation of the video in situ) will only be publicly shown once (from sunset 18:04:00 to midnight on 26 September 2020 R. Rocha, 386 - Bela Vista, São Paulo, 013300-000, Brazil). https://davidrueter.com/titles/lamina/lamina-vid/master.m3u8 https://davidrueter.com/img/titles/lamina/lamina_DSC5581-3000w.jpeg lâmina Marissa Lee Benedict and David Rueter, lâmina, 2021, Single-channel video installation, 2:00 TRT, Commissioned for the São Paulo project space um trabalho um texto (one work one text), lâmina is a one-night video work – a singular gesture – exhibited in parallel with a text by curator João Paulo Quintella. Documenting two hands, tentatively, awkwardly, bringing two pieces of 0.7 mm pencil lead (graphite) close enough to spark an electric carbon arc — an early form of spark lighting used for projecting films — before burning out, the work tightly loops together the history of moving image and its means of production. This tight loop loosens over the course of the evening with a pile-up of strange and unexpected encounters: between the congenial atmosphere of the project space and the passing audience on the street; between the humming fan of a digital projector and the roar of traffic; between the loud squealing kisses of tiny graphite pencil lead rods, powered by a motorcycle battery, burning into light; and between the projected image of a beach at the mouth of a major colonial shipping channel, and the threshold of a garage door. The exhibition contract for lâmina dictates that this version of the video (not including documentation of the video in situ) will only be publicly shown once (from sunset 18:04:00 to midnight on 26 September 2020 R. Rocha, 386 - Bela Vista, São Paulo, 013300-000, Brazil). https://davidrueter.com/img/titles/lamina/IMG_4154-3000w.jpeg lâmina Marissa Lee Benedict and David Rueter, lâmina, 2021, Single-channel video installation, 2:00 TRT, Commissioned for the São Paulo project space um trabalho um texto (one work one text), lâmina is a one-night video work – a singular gesture – exhibited in parallel with a text by curator João Paulo Quintella. Documenting two hands, tentatively, awkwardly, bringing two pieces of 0.7 mm pencil lead (graphite) close enough to spark an electric carbon arc — an early form of spark lighting used for projecting films — before burning out, the work tightly loops together the history of moving image and its means of production. This tight loop loosens over the course of the evening with a pile-up of strange and unexpected encounters: between the congenial atmosphere of the project space and the passing audience on the street; between the humming fan of a digital projector and the roar of traffic; between the loud squealing kisses of tiny graphite pencil lead rods, powered by a motorcycle battery, burning into light; and between the projected image of a beach at the mouth of a major colonial shipping channel, and the threshold of a garage door. The exhibition contract for lâmina dictates that this version of the video (not including documentation of the video in situ) will only be publicly shown once (from sunset 18:04:00 to midnight on 26 September 2020 R. Rocha, 386 - Bela Vista, São Paulo, 013300-000, Brazil). https://davidrueter.com/img/titles/lamina/IMG_4223-3000w.jpeg lâmina Marissa Lee Benedict and David Rueter, lâmina, 2021, Single-channel video installation, 2:00 TRT, Commissioned for the São Paulo project space um trabalho um texto (one work one text), lâmina is a one-night video work – a singular gesture – exhibited in parallel with a text by curator João Paulo Quintella. Documenting two hands, tentatively, awkwardly, bringing two pieces of 0.7 mm pencil lead (graphite) close enough to spark an electric carbon arc — an early form of spark lighting used for projecting films — before burning out, the work tightly loops together the history of moving image and its means of production. This tight loop loosens over the course of the evening with a pile-up of strange and unexpected encounters: between the congenial atmosphere of the project space and the passing audience on the street; between the humming fan of a digital projector and the roar of traffic; between the loud squealing kisses of tiny graphite pencil lead rods, powered by a motorcycle battery, burning into light; and between the projected image of a beach at the mouth of a major colonial shipping channel, and the threshold of a garage door. The exhibition contract for lâmina dictates that this version of the video (not including documentation of the video in situ) will only be publicly shown once (from sunset 18:04:00 to midnight on 26 September 2020 R. Rocha, 386 - Bela Vista, São Paulo, 013300-000, Brazil). https://davidrueter.com/img/titles/lamina/lamina-cu-1920w.jpeg lâmina Marissa Lee Benedict and David Rueter, lâmina, 2021, Single-channel video installation, 2:00 TRT, Commissioned for the São Paulo project space um trabalho um texto (one work one text), lâmina is a one-night video work – a singular gesture – exhibited in parallel with a text by curator João Paulo Quintella. Documenting two hands, tentatively, awkwardly, bringing two pieces of 0.7 mm pencil lead (graphite) close enough to spark an electric carbon arc — an early form of spark lighting used for projecting films — before burning out, the work tightly loops together the history of moving image and its means of production. This tight loop loosens over the course of the evening with a pile-up of strange and unexpected encounters: between the congenial atmosphere of the project space and the passing audience on the street; between the humming fan of a digital projector and the roar of traffic; between the loud squealing kisses of tiny graphite pencil lead rods, powered by a motorcycle battery, burning into light; and between the projected image of a beach at the mouth of a major colonial shipping channel, and the threshold of a garage door. The exhibition contract for lâmina dictates that this version of the video (not including documentation of the video in situ) will only be publicly shown once (from sunset 18:04:00 to midnight on 26 September 2020 R. Rocha, 386 - Bela Vista, São Paulo, 013300-000, Brazil). https://davidrueter.com/img/titles/lamina/inside-3000w.jpeg lâmina Marissa Lee Benedict and David Rueter, lâmina, 2021, Single-channel video installation, 2:00 TRT, Commissioned for the São Paulo project space um trabalho um texto (one work one text), lâmina is a one-night video work – a singular gesture – exhibited in parallel with a text by curator João Paulo Quintella. Documenting two hands, tentatively, awkwardly, bringing two pieces of 0.7 mm pencil lead (graphite) close enough to spark an electric carbon arc — an early form of spark lighting used for projecting films — before burning out, the work tightly loops together the history of moving image and its means of production. This tight loop loosens over the course of the evening with a pile-up of strange and unexpected encounters: between the congenial atmosphere of the project space and the passing audience on the street; between the humming fan of a digital projector and the roar of traffic; between the loud squealing kisses of tiny graphite pencil lead rods, powered by a motorcycle battery, burning into light; and between the projected image of a beach at the mouth of a major colonial shipping channel, and the threshold of a garage door. The exhibition contract for lâmina dictates that this version of the video (not including documentation of the video in situ) will only be publicly shown once (from sunset 18:04:00 to midnight on 26 September 2020 R. Rocha, 386 - Bela Vista, São Paulo, 013300-000, Brazil). https://davidrueter.com/img/titles/lamina/IMG_4090-3000w.jpeg lâmina Marissa Lee Benedict and David Rueter, lâmina, 2021, Single-channel video installation, 2:00 TRT, Commissioned for the São Paulo project space um trabalho um texto (one work one text), lâmina is a one-night video work – a singular gesture – exhibited in parallel with a text by curator João Paulo Quintella. Documenting two hands, tentatively, awkwardly, bringing two pieces of 0.7 mm pencil lead (graphite) close enough to spark an electric carbon arc — an early form of spark lighting used for projecting films — before burning out, the work tightly loops together the history of moving image and its means of production. This tight loop loosens over the course of the evening with a pile-up of strange and unexpected encounters: between the congenial atmosphere of the project space and the passing audience on the street; between the humming fan of a digital projector and the roar of traffic; between the loud squealing kisses of tiny graphite pencil lead rods, powered by a motorcycle battery, burning into light; and between the projected image of a beach at the mouth of a major colonial shipping channel, and the threshold of a garage door. The exhibition contract for lâmina dictates that this version of the video (not including documentation of the video in situ) will only be publicly shown once (from sunset 18:04:00 to midnight on 26 September 2020 R. Rocha, 386 - Bela Vista, São Paulo, 013300-000, Brazil). https://davidrueter.com/img/titles/lamina/IMG_4081-3000w.jpeg lâmina Marissa Lee Benedict and David Rueter, lâmina, 2021, Single-channel video installation, 2:00 TRT, Commissioned for the São Paulo project space um trabalho um texto (one work one text), lâmina is a one-night video work – a singular gesture – exhibited in parallel with a text by curator João Paulo Quintella. Documenting two hands, tentatively, awkwardly, bringing two pieces of 0.7 mm pencil lead (graphite) close enough to spark an electric carbon arc — an early form of spark lighting used for projecting films — before burning out, the work tightly loops together the history of moving image and its means of production. This tight loop loosens over the course of the evening with a pile-up of strange and unexpected encounters: between the congenial atmosphere of the project space and the passing audience on the street; between the humming fan of a digital projector and the roar of traffic; between the loud squealing kisses of tiny graphite pencil lead rods, powered by a motorcycle battery, burning into light; and between the projected image of a beach at the mouth of a major colonial shipping channel, and the threshold of a garage door. The exhibition contract for lâmina dictates that this version of the video (not including documentation of the video in situ) will only be publicly shown once (from sunset 18:04:00 to midnight on 26 September 2020 R. Rocha, 386 - Bela Vista, São Paulo, 013300-000, Brazil). https://davidrueter.com/titles/under-cover-of-a-solid-object/ https://davidrueter.com/img/titles/under-cover-of-a-solid-object/under-cover-of-a-solid-object-IMG_8660-3000w.jpeg under cover of a solid object Marissa Lee Benedict, Daniel de Paula, and David Rueter, under cover of a solid object, 2022, Relief in floor wax, excerpt from the artists’ contract for the work deposition (2021), debris removed from ventilation ducts under the Chicago Board of Trade’s former corn futures trading floor, gelatin silver print (circa 1974, photographer unknown; Special Collections and University Archives, University of Illinois, Chicago)., In 2018, Rueter, Benedict, and de Paula acquired a used trading pit from the Chicago Board of Trade, now obsolete as trading goes digital. A huge octagon with seven tiered levels where traders bought and sold corn futures, the pit itself has since traveled to Sao Paolo and back to Chicago. Here it appears only as an outline at full scale, a ghost of itself that questions what can be distilled from a thing’s remnants. A pair of documents and a photograph appear like footnotes above the floor and in the opposite corner of the gallery. https://davidrueter.com/img/titles/under-cover-of-a-solid-object/under-cover-of-a-solid-object-2-3000w.jpeg under cover of a solid object Marissa Lee Benedict, Daniel de Paula, and David Rueter, under cover of a solid object, 2022, Relief in floor wax, excerpt from the artists’ contract for the work deposition (2021), debris removed from ventilation ducts under the Chicago Board of Trade’s former corn futures trading floor, gelatin silver print (circa 1974, photographer unknown; Special Collections and University Archives, University of Illinois, Chicago)., In 2018, Rueter, Benedict, and de Paula acquired a used trading pit from the Chicago Board of Trade, now obsolete as trading goes digital. A huge octagon with seven tiered levels where traders bought and sold corn futures, the pit itself has since traveled to Sao Paolo and back to Chicago. Here it appears only as an outline at full scale, a ghost of itself that questions what can be distilled from a thing’s remnants. A pair of documents and a photograph appear like footnotes above the floor and in the opposite corner of the gallery. https://davidrueter.com/img/titles/under-cover-of-a-solid-object/IMG_8691-2943w.jpeg under cover of a solid object Marissa Lee Benedict, Daniel de Paula, and David Rueter, under cover of a solid object, 2022, Relief in floor wax, excerpt from the artists’ contract for the work deposition (2021), debris removed from ventilation ducts under the Chicago Board of Trade’s former corn futures trading floor, gelatin silver print (circa 1974, photographer unknown; Special Collections and University Archives, University of Illinois, Chicago)., In 2018, Rueter, Benedict, and de Paula acquired a used trading pit from the Chicago Board of Trade, now obsolete as trading goes digital. A huge octagon with seven tiered levels where traders bought and sold corn futures, the pit itself has since traveled to Sao Paolo and back to Chicago. Here it appears only as an outline at full scale, a ghost of itself that questions what can be distilled from a thing’s remnants. A pair of documents and a photograph appear like footnotes above the floor and in the opposite corner of the gallery. https://davidrueter.com/img/titles/under-cover-of-a-solid-object/under-cover-of-a-solid-object-3-3000w.jpeg under cover of a solid object Marissa Lee Benedict, Daniel de Paula, and David Rueter, under cover of a solid object, 2022, Relief in floor wax, excerpt from the artists’ contract for the work deposition (2021), debris removed from ventilation ducts under the Chicago Board of Trade’s former corn futures trading floor, gelatin silver print (circa 1974, photographer unknown; Special Collections and University Archives, University of Illinois, Chicago)., In 2018, Rueter, Benedict, and de Paula acquired a used trading pit from the Chicago Board of Trade, now obsolete as trading goes digital. A huge octagon with seven tiered levels where traders bought and sold corn futures, the pit itself has since traveled to Sao Paolo and back to Chicago. Here it appears only as an outline at full scale, a ghost of itself that questions what can be distilled from a thing’s remnants. A pair of documents and a photograph appear like footnotes above the floor and in the opposite corner of the gallery. https://davidrueter.com/img/titles/under-cover-of-a-solid-object/DSC03031-3000w.jpeg under cover of a solid object Marissa Lee Benedict, Daniel de Paula, and David Rueter, under cover of a solid object, 2022, Relief in floor wax, excerpt from the artists’ contract for the work deposition (2021), debris removed from ventilation ducts under the Chicago Board of Trade’s former corn futures trading floor, gelatin silver print (circa 1974, photographer unknown; Special Collections and University Archives, University of Illinois, Chicago)., In 2018, Rueter, Benedict, and de Paula acquired a used trading pit from the Chicago Board of Trade, now obsolete as trading goes digital. A huge octagon with seven tiered levels where traders bought and sold corn futures, the pit itself has since traveled to Sao Paolo and back to Chicago. Here it appears only as an outline at full scale, a ghost of itself that questions what can be distilled from a thing’s remnants. A pair of documents and a photograph appear like footnotes above the floor and in the opposite corner of the gallery. https://davidrueter.com/titles/a-conversation-between-machines/ https://davidrueter.com/titles/a-conversation-between-machines/conversation/poster.jpg a conversation between machines about Mallarmé (regarding the state of the gallery lights), 2023 Marissa Lee Benedict and David Rueter, a conversation between machines about Mallarmé (regarding the state of the gallery lights), 2023, Wooden shelf, receipt printer, thermal paper, wiring and conduit, custom software, annotated text file containing Stéphane Mallarmé's poem "Un coup de dés jamais n'abolira le hasard," Large Language Model (LLM) cloud service account, single-board computer. https://davidrueter.com/titles/a-conversation-between-machines/conversation/master.m3u8 https://davidrueter.com/img/titles/a-conversation-between-machines/_DSC5635-2-3000w.jpeg a conversation between machines about Mallarmé (regarding the state of the gallery lights) Marissa Lee Benedict and David Rueter, a conversation between machines about Mallarmé (regarding the state of the gallery lights), 2023, Wooden shelf, receipt printer, thermal paper, wiring and conduit, custom software, annotated text file containing Stéphane Mallarmé's poem "Un coup de dés jamais n'abolira le hasard," Large Language Model (LLM) cloud service account, single-board computer. https://davidrueter.com/img/titles/a-conversation-between-machines/_DSC5658-2668w.jpeg a conversation between machines about Mallarmé (regarding the state of the gallery lights) Marissa Lee Benedict and David Rueter, a conversation between machines about Mallarmé (regarding the state of the gallery lights), 2023, Wooden shelf, receipt printer, thermal paper, wiring and conduit, custom software, annotated text file containing Stéphane Mallarmé's poem "Un coup de dés jamais n'abolira le hasard," Large Language Model (LLM) cloud service account, single-board computer. https://davidrueter.com/img/titles/a-conversation-between-machines/_DSC5684-3000w.jpeg a conversation between machines about Mallarmé (regarding the state of the gallery lights) Marissa Lee Benedict and David Rueter, a conversation between machines about Mallarmé (regarding the state of the gallery lights), 2023, Wooden shelf, receipt printer, thermal paper, wiring and conduit, custom software, annotated text file containing Stéphane Mallarmé's poem "Un coup de dés jamais n'abolira le hasard," Large Language Model (LLM) cloud service account, single-board computer. https://davidrueter.com/img/titles/a-conversation-between-machines/_DSC5667-3-3000w.jpeg a conversation between machines about Mallarmé (regarding the state of the gallery lights) Marissa Lee Benedict and David Rueter, a conversation between machines about Mallarmé (regarding the state of the gallery lights), 2023, Wooden shelf, receipt printer, thermal paper, wiring and conduit, custom software, annotated text file containing Stéphane Mallarmé's poem "Un coup de dés jamais n'abolira le hasard," Large Language Model (LLM) cloud service account, single-board computer. https://davidrueter.com/img/titles/a-conversation-between-machines/_DSC5663-3000w.jpeg a conversation between machines about Mallarmé (regarding the state of the gallery lights) Marissa Lee Benedict and David Rueter, a conversation between machines about Mallarmé (regarding the state of the gallery lights), 2023, Wooden shelf, receipt printer, thermal paper, wiring and conduit, custom software, annotated text file containing Stéphane Mallarmé's poem "Un coup de dés jamais n'abolira le hasard," Large Language Model (LLM) cloud service account, single-board computer. https://davidrueter.com/img/titles/a-conversation-between-machines/_DSC5678-2-3000w.jpeg a conversation between machines about Mallarmé (regarding the state of the gallery lights) Marissa Lee Benedict and David Rueter, a conversation between machines about Mallarmé (regarding the state of the gallery lights), 2023, Wooden shelf, receipt printer, thermal paper, wiring and conduit, custom software, annotated text file containing Stéphane Mallarmé's poem "Un coup de dés jamais n'abolira le hasard," Large Language Model (LLM) cloud service account, single-board computer. https://davidrueter.com/titles/metrica/ https://davidrueter.com/titles/metrica/metrika-vid/poster.jpg Metrica, 2023 Marissa Lee Benedict and David Rueter, Metrica, 2023, Thermal receipt printer; 10-year thermal receipt paper; WiFi router; circuit-breaker box with outlets; desk lamp; building management system (BMS) lighting controls; custom BMS software with AI text analysis and synthesis; Lithuanian Metrika vols. 1 (1380-1584) and 25 (1387-1546); texts of Lithuanian legislation concerning post-soviet privatization and land reform (1991-1997)., Dipping into a pool of text sourced from Lithuanian state archives, records and bureaucratic documents of property from the 14th-17th centuries and 1990s post-Soviet land reform, "Metrica" (2023) revolves around the psychic malfunctioning of a building management system. Flicking the lights on and off at random, the system (controlled by a large language model) obsessively sorts through these historical texts – which it seems to have mistaken for its own memories – producing an endless cascade of receipts in the process. The receipts document the system’s attempts to self-describe its fragmented memories. Rippling outward from the receipt printer, the reading room itself become an extension of the building’s psychic, literary struggle: the library falls into a liminal state of transition, either going into or coming out of a state of deep storage; certain books seem to have lost their sense of stability, as text and images slide off dust jackets at oblique angles; a strange photograph of an excavated cellar floats on the wall; and the video on the monitor is stuck in a loop of perpetual dawn or twilight; all drenched in a day-for-night effect. https://davidrueter.com/titles/metrica/metrika-vid/master.m3u8 https://davidrueter.com/img/titles/metrica/overview-3000w.jpeg Metrica Installation documentation https://davidrueter.com/img/titles/metrica/receipt1-3000w.jpeg Metrica Detail view of receipts https://davidrueter.com/img/titles/metrica/receipt2-3000w.jpeg Metrica Detail view of receipts https://davidrueter.com/img/titles/metrica/receipt3-3000w.jpeg Metrica Detail view of receipts https://davidrueter.com/img/titles/metrica/install1-3000w.jpeg Metrica Detail view of installation https://davidrueter.com/img/titles/metrica/install2-3000w.jpeg Metrica Detail view of installation https://davidrueter.com/img/titles/metrica/install3-3000w.jpeg Metrica Detail view of installation https://davidrueter.com/img/titles/metrica/cellar_vault-3000w.jpeg Metrica Detail view of installation