911,000BC at Grand Century


٩‎١‎١‎,000 B.C. at Grand Century.

Anders Dahl Monsen
Bjørnar Pedersen
Christopher Kulendran Thomas
Ida Eritsland
Ilja Karilampi
Kareem Lotfy
Karen Gimle
Kjersti Gjestrud
Mikael Brkic
Phillip Zach
Renaud Jerez
Sandra Vaka Olsen
Tarik H. Hindic
Tor Erik Bøe

curated by Agatha Wara

“We’ve come a long way bb’s. But let’s keep going, to a place that is simultaneously fourteen billion years ago and right now. Here you will find chaos—in the cosmos as well as in your cup of coffee. Cosmological caffeinated chaos. And chaos is what brings us to the level of the mark. What’s your mark? I want my coffee Half-Caff not Decaf. Actually make that a Half-Caff Nonfat Macchiato, Sugar-Free, 2 Percent Foam At 120 Degrees. Control the chaos bb’s.

Look inside, there is sludge. Meaning sludge.

A whole generation of so-called of apolitical persons. 9/11, 9/12, 9/13,000 B.C. And place your thoughts on Syria. Where written language emerged. Levant where the sun rises, and Tiwanaku where it sets. And Cairo where Baby Mars would eventually be victorious.

Origins as observed by the universe Origins as observed by rocks Rocks as observing each other

Critical theory, Marxist theory, conspiracy theory, the bow-wow theory, the pooh-pooh theory, the ding-dong theory, the yo-he-ho theory, the ta-ta theory, Word decrement, Jamais vu, Semantic satiation.

How far can one zoom in or out.

When every thing is photographed, every piece of information captured, every stone turned around, will we really know more then? Can the search for answers out there answer the questions that come from inside? What is your next big thing? Big idea, big data? What’s your next missing Malaysian airplane theory?

Comic relief: “Everything is amazing right now, and nobody’s happy.” – Louis CK

So what then of the Cargo Cults. To hell with references.

A mark such as the drawing of a line, the setting of a boundary stone, or the urine of feces of an animal, is a symbolic marker that delineates this from that. This is this, this is not that. The mark is simply a placard, a sign, a gesture (human and non-human) that aims to hold still and organize the forces of chaos. It’s not just a 2 Percent Foam, Nonfat Chai Latte, Extra Hot, it’s a nod to that which holds the whole universe together, at least long enough to froth your foam.

I am a Bowerbird making a blue nest; I am not a puppy frolicking in the garden.

Grand Century presents an inaugural group exhibition on marking, chaos, and meaning; on expressivity and its migration from the internal to the external; and perhaps even on terror and Mars the victorious.” – Grand Century

Aida Silvestri

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Aida Silvestri

Work from Even This Will Pass

This body of work depicts the journeys and experiences of Eritrean refugees into the United Kingdom. Those who emigrated from Eritrea did so illegally for various reasons. Inspired by the story of a childhood friend, I investigated further only to learn that there were many more like her who didn’t want to share their experiences, for fear of consequences or further suffering in their lives. The title echoes a message found on the walls of Sinai Mountain: Even This Will Pass. This sentiment of hope, together with a map of the refugees’ journeys, fragmented stories and mug shots are the blueprint for this body of work. It aims to raise awareness of human trafficking and to bring to light different experiences and difficulties that my sitters faced on an uncertain voyage to exile which can sometimes be dreadful. The lucky ones board an aeroplane in Eritrea to exile. Only a few make it to their final destination after months of struggling to cross different countries. Some end up dying in the Sahara Desert or in the Mediterranean Sea. Others are detained in refugee camps or prisons and many more end up in hands of human traffickers where they are abused, tortured or killed unless they provide a ransom. This body of work is dedicated to those who suffered or were left behind in their quest for the ‘Promised Land’ and those who marked their names and left messages on the walls of Sinai Mountains. Your voices will be heard. Even This Will Pass.

via – BJP

Matias Faldbakken

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Matias Faldbakken

Work from his oeuvre.

“Faldbakken’s solo show at Museum Boijmans van Beuningen is an example of the paradoxical nature of his institutional criticism. The exhibition presents a selection of pieces from his ‘Container’ series, which range from empty gas cans to abandoned garbage bags. The exhibition’s pivotal piece is Untitled / Locker Sculpture #2 (2011), which comprises a set of grey sheet-metal lockers, bound and squeezed into a useless deformity by two colourful industrial straps. The evidence of material violence in the resulting object – the stretching and crumpling – is what makes the installation work as a sculpture. Before visiting the Boijmans exhibition I had come across the piece at a group show in Amsterdam, but seeing it in the middle of a corridor in the museum made a very different impression. First of all, the location of the art work in a transitional space through which people walk on their way to other exhibitions in the museum makes the work less theatrical than it would be in a traditional white cube setting, and the arrangement of the other pieces on show further contributes to this anti-aural effect.

The other works in the show are exhibited behind glass walls, in four separate small rooms that remain inaccessible to the visitor: a pile of chrome-painted film reel canisters (Film Cans, 2006), a print showing two superimposed images of the back of a DVD cover (Double Cover Xerox 5, 2008), a couple minimal canvas (Canvas #37, 2011) in the background. Untitled / Garbage Bag #21 (2010), partly displayed hanging on a glass and partly abandoned on the floor, is the only other piece the visitor is able to touch.

With a Duchampian gesture, Faldbakken turns the container into content by bringing it to the functionless suspension of the art space. On this particular occasion, though, the casual relationship established with the audience is not the intimidating, quasi-religious experience of aesthetic contemplation that the artist intends to criticize. While the vitrine effect is indeed a reminder of the exclusivity of art as the ultimate luxury good, the proximity of the toilets – just around the corner – and the continuous foot-traffic definitely breaks the tension. Given that the art works are all drawn from a single private collection, it is understandable that they are not all equally strong works, but – as a provocation against the ever-forgiving inclusion of the white cube ideology – maybe picking the least pristine spot in the museum was not the best choice. Or, considering Faldbakken’s penchant for negation, maybe it was.” – Nicola Bozzi, Frieze Magazine


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Work from “Depression” at Francois Ghebaly Gallery, Los Angeles.

Organized by Ramiken Crucible. Featuring work by Catharine Ahearn, Bjorn Amre, Lucas Blalock, Borden Capalino, Dan Finsel, Charlotte Hammer, Matt Heckert, Nolan Hendrickson, Gavin Kenyon, Andra Ursuta, and Margaret Weber.

“A scale model of a new building design will be exhibited simultaneously with Depression. Commissioned by Ramiken Crucible and funded with capital leveraged against the permanent collection to be amassed by the gallery over the coming century, this building embodies the ideal art space. Constructed in international waters, this free standing open ocean platform will function as an independent state. This island fortress will provide artists with a private kingdom free from any moral law, civil code, or financial regulation. The building will house the ultimate gallery, named Unamerican Fine Arts, and is scheduled to open for the fall season of 2100. The scale model was designed and built by the architecture firm known as We Will Replace All Of You With Cool Mexicans.

The first show at Ramiken Crucible was a solo exhibition by Gavin Kenyon in 2009. I was on unemployment and Gavin was living with his mom upstate. We overhung the show by an exponential margin. Someone took a shit in the gallery at the opening.

I wonder if Angela Merkel was depressed when Berlusconi called her an “unfuckable fatass.” No doubt she confidently dismissed the insults in public, and as Berlusconi’s shoddy, corrupt government fell to pieces, it was Merkel who had Berlusconi by the balls. But maybe she had a private moment, naked in front of the mirror, repeating his comment over and over in her mind, and she felt sad and lonely and unattractive. And then she might have stopped calling people back and started not leaving her house. She began to eat only pizza and ice cream, or whatever Germans eat when they are depressed. She took lots of xanax and codeine and when her prescriptions ran out, she drank high strength cough syrup and smoked menthol cigarettes. She stopped cleaning herself and her house. She stopped throwing anything away. All the trash from the pizza and ice cream and doner kebap or whatever built up around her house and in her teeth and in her gut like unfired clay. Her furniture, once beautiful and functional, began to resemble dirty wood scraps upholstered with used paper towels. It is from this paraphernalia of surrender that Borden Capalino works.

Mythologization inevitably takes over cultural production that seeks to sustain itself. In his text “Radical Gestures Cannot Be Maintained,” Bob Nickas outlines the career trajectories of Lee Lozano, Bill Bollinger, and Steven Parrino. Each artists reached a point of no return, accepted consequences, and continued to work. Without fail, artists who make this level of commitment pay a price, and these three artists were no exception. This commitment is beyond risk; risk implies the possibility of a positive outcome. When negative consequences become certain, radical work is possible. Ultimately, the consequence is death.

This exhibition includes Spiked Roller Machine, a machine made by Matt Heckert as part of SRL in 1984. Many of SRL’s machines explore mechanical athleticism, and borrow themes of strategic offense and defense from military industry. Spiked Roller Machine evinces the power of unstoppable death, a slowly rolling, unavoidable fate that has more in common with the slow walking terror of George Romero’s zombies than it does with gladiatorial combat. Spiked Roller Machine illustrates the onset of depression. Sufferers of depression feel the heavy weight that rolls over the psyche, the spikes that pierce every part of the mind, that penetrate every happy illusion. The spikes poke holes, depressions, voids in the corporeal body, shredding flesh and bone, blood pours out, the weight of the machine pressing the spikes all the way through the body, stopping only at the concrete below. This heavy weight, pressing down and through the body, is the certainty of death. Depression is a form of pragmatic realism. If everything humans can achieve means nothing in the moment of death, why live? Why move forward? If the end result is erasure, why participate in the unending march toward annihilation that constitutes daily existence? It is the confrontation with this fact that precipitates depression. No amount of ego, money, or fame can deliver a human from depression, because no amount of ego, money, or fame can prevent death. The most interesting artists, the most pragmatic artists, the artists who work on problems beyond their own self promotion and success, work in a state of constant, unending depression. To face the certainty of death, without the fantasies of success or progress, and still make artwork is a radical gesture. Radical gestures cannot be maintained. Death wins.

“I want my entire musical catalog to be deleted the second I die. What do I care? I’ll be dead. I don’t care about history. I don’t even want a tombstone, are you kidding? None of that stuff makes any sense to me.”

-King Buzzo of The Melvins, discussing his musical legacy, The Village Voice, October 2012

This is depression. To know the spectacular heights of feeling, and to see it ending, one work at a time. The struggle of every artist is not to be right, but rather to leave the deepest impression upon the physical world, to change the physical earth as if it were a lump of clay in your hand. Attitudes and strategies may differ, and the power of presence may give way to the overabundance of our times, but interior worlds are as real as exterior ones.

“All those moments will be lost, like tears in the rain. Time to die.”

-Roy Batty

The impression – the depression – upon you is what you fight against. Do you want to be impressed upon more than you impressed upon the world? For an artist, this means depression. An artist makes stuff. If you aren’t making as much as possible, or at all, and the world is filling you with amazing experiences, with great songs and movies and pictures and buildings and words and thoughts, if you’re an artist, this makes you depressed. Every artist is a furnace that wants to burn. Wood, cotton, coal, iron, plastic, foam, carpet, trash, paper, water – it will all burn and at different temperatures. Every artist furnace burns at a different temperature. Something is always consumed. Consumption hastens death. Every cell in a human body is set to oxidize. The only way to live longer is a low calorie, very restricted diet. To live a long time, you can’t eat too much, do too much, run too hot. A lot of people born to this world don’t get to live too long. Let death occur as it must, but get the work done. Getting the work done means death some day and no more work. Working is death. The point is to die. Face death. More depression. Depression is health. Depressed humans are honest. Failure is certain.

Andra Ursuta has made the following artworks, among many others:

1. Groups of three legged stools, the seat a solid cast of her upturned ass clad in thin underwear. These groups, called “waiting areas”, are sculptures that moon the audience. Because some of the asses are stacked, they resemble stacks of women’s asses waiting to get fucked in a porn video. 43 of these sculptures were shown by Ramiken Crucible in a cramped, dirty locked room, a temporary exhibition space at 3 Delancey street that resembled a room full of illegal of sex workers;

2. A life size, highly realistic cast of herself as an Iron Age bog mummy, naked except for a pair of Converse shoes. The sculpture, titled “Crush”, is flattened and covered in large amounts of fake semen;

3. A coffin shaped tent;

4. Flabby concrete models of a German war bunker from a beach;

5. A set of prostitution flyers advertising her as an “Ethnic Bimbo.” The cards show Ursuta naked and covered in cave woman mud markings. The mud markings spell out ‘ADIDASS’ on her leg;

6. A balloon with a noose tied to it;

7. Dozens of repeated drawings of a dead Chechen fighter;

8. Police batons with mushrooms growing out of the ends;

9. A giant medieval trebuchet hand built from trash designed to throw away her body. Next to the trebuchet is a flattened cast of her, damaged by impact with a nearby wall;

10. A concrete bloc-supported swing set for children with seats designed to allow them to shit on everything through the bottom, titled “Natural Born Artist”;

11. A ten-foot version of Brancusi’s “Endless Column” as a dildo impalement stake;

12. A fully functioning baseball-pitching machine made to stone human beings to death, with handmade rock ammunition and a backstop for the blood, guts, and hair, titled “Stoner”;

13. A horse-cart lunar rover with rubber tire wheels;

14. Three life size marble statues of a Roma woman expelled from France, wearing elaborate chokers made from windbreakers and small change;

15. Anthropomorphic pole sculptures of women, with coin slots for pussies;

16. A giant Aspic structure.

17. A scythe for death to ride like a bicycle.

In all this, Ursuta constructs a set of interlocking, contradictory narratives that provide a hierarchical context she can smash, bloodying herself in the process. The art is the expression of concepts and desires that are completely unreconcilable, and Ursuta’s self deprecation is the demolition that allows for the issue to be resurrected, over and over again.

For Bjarne Melgaard, the process of making and living is also self-demolition. Melgaard’s use of the methodologies of therapy is a prybar to emphatically state that reality isn’t real. Melgaard relies on the premise, that our experience of reality is entirely self constructed, to indulge himself as much as possible in aberrant forms. His expansion of the role of the artist is intended to reach as far as possible beyond moral precepts. By making/curating/appropriating/buying very good art and very terrible art, Melgaard moves himself beyond taste. By abusing crystal meth and steroids, by using his wealth to appropriate entire cultural trends at once to exploit, and by going on violent, hate spewing text message rampages against his most ardent supporters, Melgaard frees himself from the expectation to act morally. This allows Melgaard to reposition the engines of mental illness that he indulges, creating a feedback loop that is shrill, violent, hurtful, and mesmerizing. When Melgaard points these engines of depression, narcissism, mania, jealousy, schizophrenia, and paranoia inward, he is paralyzed. When he turns these engines on the outside world, on other people and objects, he transforms his environment. In this way his art shares the same vector as therapy: to take what is inside the head and make it external, so that the patient may come to terms with the discrepancies, and move on towards a more optimal functionality. However, Melgaard has destroyed the optimal, leaving nowhere to go but down and deeper. Motor Paralysis, IDEAL POLE, PARAPRAXIS, and POST-EPIDEMIC, are vinyl plate works made under the pseudonym Bjorn Amre, whom Melgaard told me was his uncle. IDEAL POLE, PARAPRAXIS, and POST-EPIDEMIC each have a book duct taped to the face. One of the books is Naked by The Window, a thick, true crime tell-all about the death of Ana Mendieta and the subsequent trial of Carl Andre, the court records of which have since been sealed. Motor Paralysis is Melgaard’s engagement with his worst and most feared enemy: complete paralysis. If Melgaard ever met a problem he couldn’t own, it is complete paralysis. How can he appropriate or manipulate or create if he can’t even move? Motor Paralysis is an orange flavored cartoon villain, an optically perfect illusion of clarity and pure color mass that is to be feared. It is an imposition of digital perfection upon the physical world, an exaggeration of the forces of digital rendering and a sharp authoritarian geometric abstraction.

Melgaard also gives himself the freedom to walk away from any artwork, by burying it under a pseudonym or blaming it on a collaborator, or even claiming it isn’t a real work by him. These are Cady Noland moves; Noland denies the authenticity of her own artworks and feigns legal attacks on artists, curators, and collectors who attempt to curate, collect, or reference her work. By building in a way to deny authorship, Melgaard can avoid negative criticism, criminal charges, and market forces, all of which seek to pin him down and hold him responsible. Whether any of these powers are truly conspiring against him or even aware of his behavior is beside the point, because Melgaard’s mental state is defined most by his extreme drug induced paranoia, of which he is very proud. Paranoia is proof of the hermetic seal he maintains around his universe, and this in turn is proof that he has created a universe he has the power to seal up. Outside entities are irrelevant to Melgaard; as a quantum artist he is not concerned with position, but velocity. Melgaard paints and sculpts, but his physical diversions are simply props in his grander narratives of control and manipulation. He is a performance artist, and like Marina Abramovic, his medium is human beings. Unlike Abramovic, whose subject is herself and whose primary move is to put herself on a pedestal, Melgaard uses other people as sculptures. In “The Shape of Things”, Neil Labute creates an antagonist whose MFA thesis project is the manipulation of her unwitting lover, as if he were a sculpture, into bettering himself, as if she is sculpting him into an ideal form. Labute is commenting directly on the vanity of culture, using the genre of performance art as a symptomatic vehicle. Melgaard’s self loathing is so great that it surfaces in other people, controlling them, too. Abramovic’s facile constructions float on a new age pseudo science of self improvement through performance. Melgaard’s complete honesty and total self annihilation undermines the self obsessive vanity of contemporary performance art completely. His work cuts idealism off art like a knife through fat. There is no self improvement, and there is no perfect artwork. There is no progress. At the end of a video by Melgaard I saw at Maccarone, a brief text flashes on the screen: “Everything you do that is wrong is right.” Bjarne Melgaard’s work is liberation. He is one of the most generous artists I have ever met.

To quote Bjarne from an email, “Also making up some artist just for the show so its kind of obvious that some of it would be a doubt around if its real or made up artists,something i like a lot.If its to much boring art around I usually just make up some new artist!!!”

Andra Ursuta on Margaret Weber:

“For her debut at Ramiken Crucible, Margaret Weber shows large sculptural tapestries made from pieces of industrial carpeting stripped almost bare. Hung on walls or slumped onto the floor, these ghostly objects are suspended in a sort of afterlife; in their former glory, they furbished the offices, classrooms, sales floors, and waiting areas that make up the modern world, mapping dull gray expanses of corporate interstitial space. In their present, varying unraveled states, most of the soft matter has been picked clean with a relentlessness that feels both calculated and out of control. Weber’s reductivist touch is traditionally female work turned against itself. To fashion tapestries, she exacerbates generative manual labor (the kind that spins soft materials into concrete form, ectoplasm-like), its monotony and introversion, to the point it becomes malignant.”

“Weber’s upright works move once-horizontal floor covers to a vertical, contemplative plane, enacting a kind of resurrection. But these mastodons are wall-to-wall carbon copies of the places they once occupied, vaguely crooked rectangles with the odd missing corner. This ensures their perpetual awkward habitation of any other space. The work’s unyielding scale also challenges the wasteful monumentality of much successful contemporary art, favoring restrained, targeted stripping over a cumulative approach. Through methodical pulling and teasing, the soft surface layer, the one that would record the stains, spills and footprints of everyday use, has been reduced to discretely repeating specks of minimal noise that distantly echos larger organizational systems that comprise our lives.”

I wanted to use a photograph by Lucas Blalock as a tangent, a moment of human connection within the vast numbers of images, the vast numbers of people, and the utter worthlessness of a single human life, despite all, still, a human being, with feelings and fathomless consciousness, expressing herself with her eyes and a hand, not a trick of photography or a statement of functional content, but functionless emotion, grace, and the physical suspension of mortal love. The state in which we experience art is emotion. However he vetoed my pick for the show. Instead he gave me four new pictures.

From “xyz”, 2011: “Blalock enthusiastically deploys any method that can be used to construct a picture, provided it is contained within the procedural program of photography. Each picture begins on film, shot with a 4×5 camera by the artist; digital interventions follow. Blalock leaves his pictures unprotected from these overlapping strategies, which often contain overly elaborated procedures lifted from the technical production of commercial photography. Patterns merge and mutate, inflected by color corrections that do not correct and masks that do not fit. We see the machine working; the technology that was originally conceived of as invisible is put on stage to act among the intersecting possibilities of the mechanical, the procedural, the historical. Through this apparatus a play is produced that opens out onto uncanny and libidinal economies of physical objects. Blalock’s images could be seen to function in the same way that jokes do for a comedian: they are immediate, and perform themselves while at the same time conjuring the world (the picture and the pictured). In the spirit of a slapstick pratfall, Blalock’s work carries on the experiment with humor and absurdity.”

Nolan Hendrickson made a zine in 2009 titled “Faggot Carnival.” A friend showed it to me. I found out he made paintings, too. Now he also makes sumi ink drawings and aqua resin sculptures.

Catharine Ahearn makes furniture out of pretzel, woodshed lava lamps, air fresheners, black hole washed-out automatic writing sci-fi doodle paintings or recording studio sound baffles, monochromes in the dark, cosmic compost, soft furniture, soft sculpture, soap sludge laboratories, systems that undermine the credibility of daily life, exposures to absurd objecthoods inserted into the pyramid scheme, transformed into a pretzel scheme, twisting salted brains inside out. Ahearn’s Earth Daze movement is gaining steam; helping the environment is better than nothing and reusing soap slivers for art rather than throwing the slivers away has been calculated to potentially reduce the landfill deposits of soap in the United States alone by 337 million tons each year.

“In earlier times foretelling the future was the job of oracles or sibyls. These were often women, who would be put into a trance by some drug or by breathing the fumes from a volcanic vent. their ravings would then be interpreted by the surrounding priests.” Stephen Hawking

Charlotte Hammer was born in 1942 and currently lives in Phoenix, Arizona.

Is depression real? Doctors and scientists say yes. Does therapy work? Does art therapy work? Ask Dan Finsel. He has no idea, but he’s not afraid to find out. Finsel made a sculpture last year of a cage within a cage within a cage within a cage; he thought it was a self box, but now he doesn’t think so. Encased in a hall of mirrors constructed of distorted versions of himself, Finsel is working on creating more problems with the precision of a surgeon. When I look at Finsel’s work I am a rubber ball, bouncing and ricocheting off the surfaces of his mind, with no sense of gravity, like a scuba diver in a cave filled with silt.

Energy behaves in waves. The distance between the highs and the lows is the frequency. Highs and lows are symmetrical, and the higher the peak, the lower the proportional depression. To talk about the next aspect of this model requires a break from the common morality surrounding the use of mind altering substances. Getting high on drugs leads to an equally low depression, the come down. Successful drug users are able to manage the low, which requires some acceptance and moreover, restraint from immediately trying to mollify the depression. Depression is terrifying, but should be endured without resorting to irrational behavior. Substance abuse victims medicate their lows with the chemical event that produced the low in the first place. This cycle of addiction is an exponentially accelerating repetition that changes the problem of dependency into other, less manageable problems with physical health, sexual relationships, employers, law enforcement authorities, and dealers.

It is hard to say if depression is always a problem. Human beings who consistently endure depressions seem to be the most interesting people. Human beings who consistently endure depressions are a lot less boring than people who cannot deal with negative feelings honestly. Art is the manifestation of the most private and specific vision. Working against consensus is at least the right track. Where is the dignity in contemporary art?

Depression is often directly caused by, in the words of Carl Wilson from a recent review of a biography of Alex Chilton, “whatever drives a handful of artists to be great at the expense of being good, to gamble double or nothing on the long odds.” To these artists, working often means the same thing as failure, in direct opposition to the ones who produce to prevail, the game players and the posers, the networkers and the opaque black holes, the ones that master systems and moves, techniques and cliques, professional attitudes and academic jargon. Have fun being successful. Have less fun not being successful. Thus, depression. Someone has to lose, something. Despite all assurances, in whatever form, be it connections, friends, curators, awards, prestigious exhibitions, magazine articles, or money, there is no guarantee that an artist can or will make a great work. Many artists game the system, making things that will bring success fast and easy, or things that sit in judgement of fast and easy by ironically moving faster and easier. This is cynicism. These artists have already lost everything, and their work doesn’t matter. Being successful is nothing. Failure is the most important thing in the world, and it is the mistakes that cannot ever be replicated that are the most beautiful.

” …because of works of art like this. I believe in abstract art. If I have not been able to justify it, I can perhaps say with the pragmatist, with the literalist: There it is. I have shown it to you. It has been done. It is being done. And because it can be done, it will be done. And now, I am done.” Kirk Varnedoe, Pictures of Nothing, 2003

If reflected through the prism of desire, the spectrum of physical objects that can be described as contemporary art reveal wide rivers of desire: desire for power, desire for money, desire for influence, desire for security, desire for fame – these desires are the main courses to run, and yet they are corrupt. Art driven by these agendas is art in name only. Art forms, like a crystal, past the limits of desire, beyond which lies the unknown. One cannot desire what cannot be conceived, but what cannot be conceived can be created.” – Ramiken Crucible/Francois Ghebaly Gallery

John Knuth

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John Knuth

Work from Master Plan at Andrew Rafacz (and other similar works).

“For Knuth, the most basic level of alchemy can be transcendent. Whether he is working with sugar, smoke or insects, the common and fleeting are repurposed and given new meaning. Much of his project is centered on the natural world and its potential in the process of art-making. He intends to create something that is beyond the normal, daily existence or identity of his chosen material or participant.

To create the paintings in Master Plan, John Knuth feeds watercolor paint to hundreds of thousands of common houseflies. The flies regurgitate the paint on the canvas. As they eat, they digest externally. Every time they land on a surface of something there is a chance they will deposit what they just ate on that surface. That mark is called a flyspeck. To control this process, the artist builds boxes that limit the flies’ movements to the surface area of the canvas. The final paintings are comprised of millions of small dots of paint, determined by inevitable deposits of these flies. While created with a degree of chance, the artist, through research and continued refinement of his process, is largely in control of where and to what amount the paint is applied. The colorful paintings reside in a space between landscape and abstraction. For Knuth, they are analogous to the man-made infrastructure of Los Angeles, with denser areas next to marks that are sparser and sprawl about the canvas.” – Andrew Rafacz Gallery

Bianca Chang


Bianca Chang

Work from her oeuvre.

““Our eyes have become accustomed to the daily inundation of complex moving images. The Light Maps works are my effort to conjure – or at least imagine – a visual quietness in which the fundamental distinctions of perception can find a territory to be examined. The works have been formulated as a response to various mathematical ideas that govern the world around us – Euclidian geometry, the golden proportion, probability and chance. If it is true that mathematics is a universal language, my hope is that the sculptures can successfully allow abstraction to remain accessible through this intrinsic understanding. My aim is to avoid sentimentality or assigning a social, cultural or historical viewpoint – in this way I hope that the works become non-referential and self descriptive to the viewer, inviting them to recognize personal states of purity and beauty.To create these works I hand-cut each sheet of paper layer-by-layer to reveal a form, or rather an absence of form, within the sheets. This process is calculated and methodic. The resulting three-dimensional counter-reliefs discreetly alter the materiality of the paper – the sculptures are simultaneously fragile and resolutely concrete. They are designed to react to the light existing within a space. This is my take on traditional psaligraphic image making – one that relies on a disciplined fidelity to a mathematical execution rather than unconstrained artistic flair. The works blur the line between two- and three-dimensionality, and, I hope, create a moment of stillness that allows the viewer to meditate on the subtleties of form and perception.” – Bianca Chang

Katinka Pilscheur

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Katinka Pilscheur

Work from her oeuvre

“I was drawn to Katinka Pilscheur at the very beginning; I knew we had something in common. From the moment I saw power tools and materials piled in wait, I knew: this was my childhood. The soft metal memories of mine, bent into an arc of energy; the suffering of hard labour but the joy and understanding of a true days work. The destruction and rebirth of Berlin’s scenes of construction. The wait for something spectacular and the result of something mundane. As we up look at the ivory tower of glass and metal only to feel dismay, lower your eyes; change lies at the very core and center of being. Change is more than the worldbuilding up around us.Pilscheur captures still shots of seemingly benign pieces of the whole and cages them. She is tempting the viewer to irritate these faux animals to see what they are really made of.” – Koal

Brian O’Doherty

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Brian O’Doherty

Work from P! at Simone Subal Gallery, New York.

“Attempting to trace Brian O’Doherty’s artistic concerns through his seven decade career is akin to falling down a rabbit hole. This would undoubtedly please the artist, who delights in the type of misdirection that aims at inspiring deeper thought. His output includes mazelike grids (Vowel Grid, 1970) among other labyrinths-inspired imagery like his rope drawings (notably Rope Drawing #120: Here and Now, 2014) in which warrens of colored segments are teased by ropes in three dimensions to create masterful parallaxes.

These works, on view as part of a joint exhibition presented by P! and Simone Subal, demonstrate the continuing currency of O’Doherty’s thinking. AOU, The Broad Vowels, 2005, comes from the period he worked under the pseudonym Patrick Ireland, which he assumed between 1972 and 2008 in protest over the political situation in Ireland. Here, O’Doherty employs trompe l’oeil through color and line to illustrate how the eye can confuse, mislead, and obfuscate. Also depicted are painted shapes of the titular vowels, which come from Ogham, an ancient Celtic language written as dashes and lines and never spoken aloud, that emphasize his interest in delineating underlying visual patterns to describe systems of existence, thought, and communication.

For O’Doherty, beyond trick lies reason. Just as the artist’s “Inside the White Cube” essays—originally published in Artforum between 1976 and 1986—indicates how a gallery space is anything but neutral, these paired exhibitions enable a reading of O’Doherty that discusses ways of seeing beyond surfaces. A Geographical Notation on Equivalence and Multivalence of Meaning (Arse / Ass), 1965, describes the potential for glorious misunderstanding when attempting to communicate about sex in Ireland versus the United States—the different meanings of the words “tramp” and “bum” being a case in point. O’Doherty’s famous portrait of Marcel Duchamp as an electrocardiogram, Portrait of Marcel Duchamp, Lead 1, Slow Heartbeat, 1966, is shown here, too. As with Ogham, the heartbeat is unspoken—ultimately, however, what could be more fundamental to a person’s existence.” – Gemma Tipton, Artforum

Jordan Tate


Jordan Tate

Work from SUPERBLACK @ Transformer Station.

SUPERBLACK is the result of a two-year research project in collaboration with scientists at the University of Cincinnati. SUPERBLACK is a physical body designed to absorb nearly all electromagnetic radiation (visible light, infrared light, ultraviolet light, etc.) and offer the experience of a localized, contained, and absolute darkness.

At its core, SUPERBLACK is an exploration of certain dualities – subject/object, void/full, black/white. Tate’s larger photo-based practice further explores the nature of these dualities that inform, limit, and govern our experiences.

Within Tate’s work, the photograph is used as an idea, as a metaphor for knowledge itself, rather than a physical object or even an image. Photography becomes a way of analyzing the interplay between culture, science, and technology that transforms individual observations into systems of knowledge.

Anthony Pearson

Anthony Pearson

Work from his exhibition at David Kordansky, Los Angeles

“David Kordansky Gallery is very pleased to announce an exhibition of new work by Anthony Pearson. In his third solo exhibition with the gallery, Pearson presents new wall-based sculptural reliefs made from plaster and bronze. These works are activated by the effects of ambient light on their surfaces and are informed by the artist’s long-standing relationship to photography.

Over the last decade, Pearson has authored a constantly evolving vocabulary of objects and images. Common throughout this evolution are autonomous, expressive gestures on the one hand and rigorous formatting on the other. Even when it does not make a direct appearance in the work, the photographic process operates as a guiding logic for the unification of diverse materials and techniques in a harmonious vision. This is because light itself––as reflection, as ambient phenomenon, as illuminating energy––is both the physical and conceptual source of Pearson’s project.

Featured prominently in this exhibition are examples of a new typology that the artist refers to as Etched Plasters. Though they vary in scale, each consists of a field of plaster set inside a frame. The plaster has been scored by hand using a variety of implements and an array of mark-making strategies. Dense networks of swirling lines, systems of crenellated grids, and swooping patterns reminiscent of natural forms create complex reliefs and cast intricate shadows. Pearson sometimes pigments the plaster before pouring it; if the tones he chooses can be divided most easily into whites and blacks, within these categories subtle variations of hue can be discerned, including pinks, blues, greys, and browns. The colors of the frames reflect a similarly sensitive spectrum of whites, off-whites, and natural woods.

Though the Etched Plasters are defined by marks, supports, colors, framing, and their relationship to the wall, it would be a mistake to identify the body of work as painterly or pictorial. Rather, it represents a focused meditation on the experience of physical surfaces and the function of light. Each etched line is a sculptural gesture that prompts the object to respond to the conditions in which it is installed. An emphasis on optics and the body’s ability to perceive seemingly immaterial phenomena therefore place the work in conversation with the ethos of the Light and Space movement. This represents a local inheritance, as Pearson has lived in Los Angeles for nearly his entire life. In many ways his practice can be read as a series of attempts to embody and reflect the perceptual qualities of Southern California.

New bronze wall-based sculptures on view are the latest iterations of Pearson’s Tablet typology. Cast using molds made from hand-sculpted clay forms, they take shape as biomorphic, inwardly folded cylinders. Some have been rendered at large scale and exude the wrought physical force of bodies working against gravity; others make use of the intimacy of smaller dimensions and feature taut, interlocking geometries. But common to all of the new Tablets is the depth of their richly patinated surfaces. Traditionally associated with physical and visual weight, here bronze conjures surprising luminosity. The Tablets offer a complement––rather than a contrast––to other optical phenomena that take place around them. Metallic surfaces have been transposed into the realm of light, creating direct associations between these new sculptures and earlier experiments in photography that have remained at the heart of Pearson’s work. Seen alongside the Etched Plasters, and considered in the context of previous typologies, the Tablets are parts of an alchemical chain that synthesizes observation, material specificity, and unbridled intuition.” - David Kordansky Gallery, Los Angeles