What you see before you and what has brought you here are of the same principle. That principle is the definition of the word BIND. To bind implies that there is an act of forced restraint between materials or ideas, however BIND itself implies a more automatic adhesion between two distinct substances. Using the BIND framework we have determined that an artist themselves can constitute a distinct substance on par with that of the materials they may use, fabricate or not build at all. The language of the piece to which we refer by way of general and specific syntax (5. rules for deriving logical formulas), recalls what Lawrence Weiner described in his typographic document / process piece, that was submitted to Arts Magazine in 1970, in which he asserted the following document as the work itself:

1. The artist may construct the piece.
2. The piece may be fabricated.
3. The piece need not be built.

Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.

 What does this tell us about binding? Think of definitions such as, wrapped, tied, and bound, Weiner’s proposal is relatively free from hindrance or the restraining or compelling effects of a BIND described in its definition. It is the ‘process’ of a BIND that Weiner’s statement reveals is substantial, that is, that a BIND may not nec-essarily be a purely physical result. What Weiner maintains is that the process counterpart to the work may be interpreted as a physi-cal or biological structure. The ‘mental’ framework that underpins this process is therefore a possible substance as it is debatably a product of the biological structure that is the artists themselves. All in all the work before you does not attempt to negate its obligation to inform you of an unknown hidden truth, it is simply the result of will upon structures leaving physical and non-physical structures open for examination. Its materiality is as matter of fact as is the word you use to describe the way these pieces are ‘bound’, by glue, tape, nail, or drill.

In 1925 Bauhaus artist Laslo Moholy-Nagy wrote:
“In comparison with the inventive mental process of the genesis of the work, the manner—whether personal or by assignment of labor, whether manual or mechanized – is irrelevant”. Even some 85 years ago it was confirmed, the means of production via form, willful or automatic as an intransitive verb, BIND, is of little importance. The process of a bind takes place at the moment of conception. To will it, is to bind it. To bind or not to BIND, the question which then places us in the position of a ‘Double bind’. This position as outlined by Carlos E. Sluzki, apparent in the 5 characteristics of a Double Bind that follow: 

(1) Two or more persons; (2) repeated experience; (3) a primary negative injunction; (4) a secondary injunction conflicting with the first at a more abstract level, and like the first enforced by punishments or signals which threaten survival; (5) a tertiary negative injunction prohibiting the victim from escaping the field; (6) finally, the complete set of ingredients is no longer necessary when the victim has learned to perceive his universe in double bind patterns. 

Considering these characteristics ‘The Double Bind’ presents itself in the gallery space as a set of negotiations between two people and the will towards material. What is done and what is not done. In terms of the idea of practice and or creation, it’s a means by which we can begin to apply a form of psychoanalysis to the output and ideas we emit. A response or solution to a work can be the act, which eliminates an opposing decision to take when initiating a bind. 

Through the BIND an irrational decision may become a logical solution. In a small publication called Art Language: The Journal of Conceptual Art. American Sol Le Witt published his numbered “Sentences on Conceptual Art.” His argument against rationalism is clearly introduced in the first seven lines:

1. Conceptual Artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
2. Rational judgments repeat rational judgments.
3. Illogical judgments lead to new experience.
4. Formal Art is essentially rational.
5. Irrational thoughts should be followed absolutely & logically.
6. If the artist changes his mind midway through the execution of the piece he compromises the results and repeats past results.
7. The artist’s will is secondary to the process he initiates from idea to completion. 
His willfulness may only be ego.

Above / below is the definition of BIND. It is evident in the works presented that to act upon the definition of BIND, allows for a multiplicity of binding processes. The art documents presented are therefore present and non-present. We present the BIND through a handshake with this space, a firm commitment with each other and you, to cause ‘it’ to stick together and form a cohesive mass.

“UHU GmbH & Co. KG is a manufacturer of adhesive products, based in Bühl, Germany. Its company slogan is “Don’t say glue, say UHU!”

definition of BIND
transitive verb
1a : to make secure by tying
b: to confine, restrain, or restrict as if with bonds
c : to put under an obligation <binds himself with an oath>
d: to constrain with legal authority
2a: to wrap around with something so as to enclose or cover
b: bandage
3: to fasten round about
4: to tie together (as stocks of wheat)
5a: to cause to stick together
b: to take up and hold (as by chemical forces): combine with
6: constipate
7: to make a firm commitment for <a handshake binds the deal>
8: to protect, strengthen, or decorate by a band or binding
9: to apply the parts of the cover to (a book)
10: to set at work as an apprentice: indenture
11: to cause to have an emotional attachment
12: to fasten together <a pin bound the ends of the scarf>

intransitive verb
1a: to form a cohesive mass
b: to combine or be taken up especially by chemical action 
   <antibody binds to a specific antigen>
2: to hamper free movement or natural action
3: to become hindered from free operation
4: to exert a restraining or compelling effect <a promise that binds>

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