Dylan Ravenfox created new media for each of the five video sources in the Cantor Fitzgerald exhibition. 

The full title of his installation work: To See or Not See (and Hear): On the Physical Impossibility of Beauty in the Mind of Someone Living: On The Semiotics of Interspecific Expressions of Misery, the caustic, hollow consumption of ‘meaning’, and the search for asylum in the extraction and implantation of a reel.

Which is more than a restatement and recirculation of Damien Hirst’s stuffed animal trope, The Physical Impossibility of Death in the Mind of Someone Living. But Ravenfox, now thinking that he gives too much credit and kindness to Mr. Hirst, prefers the title, Healing Hurts.

Here’s one of Dylan’s channels for Guarded‘s rotating platform, the one that extracts the reel:

Documentation from the installation:

And in the new version he includes on the Lost display a recitation of the following Yeats poem over a looped montage of a live lamb—all cuteness and nose—and several slaughtered lambs, the uncute but typical.  Which Yeats too must have had in mind:

Little lamb, who made thee?
Dost thou know who made thee,
Gave thee life, and bade thee feed
By the stream and o’er the mead;
Gave thee clothing of delight,
Softest clothing, wooly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little lamb, who made thee?
Dost thou know who made thee?

Little lamb, I’ll tell thee;
Little lamb, I’ll tell thee:
He is called by thy name,
For He calls Himself a lamb,
He is meek, and He is mild,
He became a little child;
I a child, and thee a Lamb,
We are called by His Name.
Little lamb, God bless thee!
Little lamb, God bless thee!

And these lines too from the third stanza of Sailing to Byzantium:

Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.