The following petition has been circulating response to dubious (at best) statemtents made by New York Times reporter Ken Johnson. As Blouin Art Info puts it “An anonymous petition expressing concern about recent New York Times reviews of women and African-American artists has hit a nerve, sparking a wave of support from some serious bold-faced names. Artists Glenn Ligon and Coco Fusco confirmed to ARTINFO this morning that they had signed the letter, while other (currently unconfirmed) signatories include artists Paul Ramirez Jonas, Janine Antoni,Louise Lawler, Julie Mehretu, Kara Walker, and Martha Rosler as well as art historians Rosalyn Deutsche, Miwon Kw0n, and Robert Storr. As of this writing, the petition bears 312 signatures and is growing by the minute.” I have included a portion of the petition below after which you can follow a link to read the entire thing and sign it as you wish. I signed it and was proud to do so. Johnson’s reviews are precisely the kinds of articles that encourage the further marginalization of race and gender. The lens and tone of media coverage — particularly when printed by such a prominent newspaper — affects all of us.
Dear New York Times:
Last month, I compiled a collection of interviews with a curatorial projects operating in the city of Chicago. In it, Happy Collaborationists, LVL3, New Capital, slow, Roxaboxen, Plaines Project, and Johalla Projects all answer the same four questions, discussing their respective curatorial agendas. I always love to hear the back room story behind spaces, the way administration and practical impasses influence day to day decisions. I would love to post all of them here, but as it is, I’m only going to wet your whistle on this Internet-machine. After all, the interviews were intended to go together. While the resulting zine, “AD HOC,” was available for free in the Bad at Sports booth of the Chicago EXPO, you can download the entire booklet via the following link: EXPO_Bas_pamphlet_for_web. Below I have included an interview from that collection with co-director Paul Hopkin from slow gallery — a wonderful space that straddles the line between apartment space and storefront gallery. At present, slow is exhibiting Benjamin Bellas, Represent the sound outside these spaces wherein”Benjamin performs herculean tasks and shows what is produced by his efforts.” That exhibit is open to the public until November 10th. For information about what they’re up to, the show they have installed in Clutch Gallery (a portable exhibition site in founder Meg Dugid’s purse). Hopkin’s co-director, Jeffrey Grauel is carrying it around at present, and even brought it to Washington DC for its official opening. Visit their website here and don’t forget, the following interview is just the tip of the ice berg. Each of those seven spaces has a interesting and varied way of thinking about their curatorial work.
Caroline Picard: What kind of exhibitions excite you generally?
Paul Hopkin: I like an exhibition that gets under my skin. Art is best when I am not sure whether I like it or not, but I can’t stop thinking about it. I always try to get artists to present work in ways they would be less likely to without me, or the kind of space I run. That means pairing people who otherwise would not be paired, encouraging a new direction in the work or taking more risks in its presentation. I have been really lucky to have worked with a lot of really fantastic artists, but I have two favorite shows: one was called the low down and featured the work of Jeffrey Grauel, Caroline Allison, and Danica Favorito. Jeffrey covered all the windows with panels of crocheted video tape. It brought a darkness to the space — clearly because it was a sort of blackout curtain, but it also just pushed its presence into the space generating a kind of tension. Well, the fact that you also walked straight into a slowly spinning baseball bat maybe helped that a little too. I also really loved the play between Caroline’s gorgeously printed and beautifully framed photos with Danica’s that were off her junky inkjet she had at home, wrinkled and hung with obvious pieces of masking tape. I think one of Danica’s photos had a coffee stain on it.
The second show was last spring, titled, it ain’t over. Brent Garbowski and Joe Mault collaborated on this work that was not just designed for the space, but for people who come to it, for me. There was a kind of specificity to the work that was truly remarkable. They cut down a power pole and lay it down on the floor so that it cut through the gallery, through the entrance of my apartment and ran alongside my bed. They fabricated a swing arm with the familiar arch of a streetlight, so that the bulb illuminated my bed, complete with the way-too-bright light of an outdoor fixture. They are in the process of installing parts of that pole in another space and it is becoming a wholly different work. I also love that I got Barbara DeGenevieve to make work that was really light-hearted. I was really excited that she, one of my more established artists, was excited to work with Brent and Joe, two boys still in undergrad.
CP: Do you have a particular story about what the back-end of your space is like? Something perhaps indicative of your administrative process?
PH: I would probably not be running a gallery if there were no separation between my private apartment and the storefront gallery. It is funny to me now, but I thought I wanted to keep people in the public space and keep my home out of the mix. A couple of shows into it I just realized it was ridiculous — it was more comfortable to use my home as the space to hang out in. If I haven’t swept the floor in my apartment and there is an opening, I just let it happen anyway. “Y’all come to see the work and enjoy a beverage. Hell, some of you seem comforted that there are little mounds of my dog’s hair everywhere.”
I made a rule — if I find you difficult to work with, it is not worth it to me. I will also not work with you if I don’t trust you to be alone in my home. I do this because I love it, and it is important for me to continue loving it. I have only had a few conflicts, and I hope I have resolved them well. Most of the artists I have worked with have truly been a pleasure. Not that there is never stress; stress is part of getting something worthwhile to happen. But the artists I have worked with have been helpful, resourceful, and interested in having good shows. I have been thrilled to see it work that way. I have had artists who have shown in my space just jump in and help with practical chores even when it is not their show.
I keep a running list of artists that interest me. Some, I check in with from time to time. I throw ideas around, often in casual conversations with friends. Just keep at things until an idea clicks. Then I approach the artists. Sometimes that doesn’t work out and it means I have to start again. Maybe an artist is unavailable, or sometimes just not into the idea. I usually have three or four studio visits with each artist leading up to a show and I always run my show ideas by Jeffrey Grauel, my co-director.
The biggest practical decision I make is to avoid shipping work. I have done it, and it has worked, but I mostly show Chicago folks. I find the practical matters to be a part of the scene, so working within the resources and space I have is a part of the fun. I don’t choose in a terribly practical fashion. I mean I had a power pole hovering over my bed for two months, and I let a performer live in my space drunk for a week.
I write for every show. It brings clarity about the show and why I put the artists together in the first place, and it helps the artists understand it too. When I get it right, the writing also helps generate some interest in the shows. But I try to avoid describing the work. I want to generate experience with the work on its own terms. I have my ideas, but I don’ t ever want to impose them on the work in a way that overshadows the work itself. I don’t have my writing in the space at all during a show. It resides on the internet on purpose.
I don’t understand your question about, “engaging a public audience”— I mean, people come; the events are, in some direct way, public. It is a bit of a mystery to me that I engage a consistent crowd of undergraduate artists, and a consistent crowd of adults who have been out of school for a good long while, whereas I don’t draw a ton of graduate students. It is a little frustrating to me, because critical attention has a way of following the interests of those grad students. But I think the shows at slow are better than that. And not that the projects haven’t received attention, because they have. But sometimes I still feel like slow is a secret. I have had a couple of grad students tell me straight up that it doesn’t seem like a place where they can figure how to get in —and if it doesn’t present them with opportunities then they don’t get invested in the space. The funny thing to me is that it can present them with showing opportunities. And then there’s the flip side of the same question: what good does it do for anyone if the venue will show anything that comes along? Editing, some kind of vision and hierarchy, seem to facilitate better things all the way around. I guess I am still figuring out some things, and those artists are too. But I want to maintain a kind of criticality, a kind of rigor, and I don’t mind that there are interesting artists who remain outside my radar.
CP: Do you think non-traditional sites for exhibition are important?
PH: Important is a funny word. Curators that work in canonized venues rely on the rest of us to decide what is worth thinking about, worth seeing. But what burbles to the top is just that; it is the thing that garnered attention. Local food and local art — you know? A lot of the best stuff will remain unknown to most, and that is why we visit the places that produce locally. It isn’t so much that that venues like mine are important, but we do a kind of work that isn’t done by important venues. Not so long ago Hamza Walker spoke very directly about waiting in the wings until a certain few venues have chosen first to pay attention to an artist, or to a new kind of approach. I think it is common for important critics and curators to wait and see what the lesser of us do. If a non-traditional venue bites on a new hook, and the results are well received, it can move through a system and become important. But I want to work from a messier place that is full of risk and opportunity. I love to play with ideas on their own terms. I love the heady space of “why the hell not” and “it’s about time.” That can happen when there is no bureaucracy. I can risk a big failure because nothing so terrible happens when I do fail. The payoff can be so much more satisfying when it comes from that sort of space. It isn’t all just freedom and light, but it is so much closer to the fantasy of how the art world works. I support what strikes me, what feels ignored or absent from the scene, but nevertheless compelling. I hope to bring a critical eye to my part of the art world in a time where criticality is threatened and disappearing.
The television show The Wire changed how I think about storytelling. You get such a deep version of a really compelling story if you see the entire 5 year arch of the show. Artists usually work more like the storytelling in The Wire than in, say, Gilligan’s Island. But we tend to see work that is from the fresh young thing just out of school. Or the work that has become important in the meantime. We see the same details, the same place in the storyline, repeated over and over. It is set up in this way that we think we are seeing a serial, but we’re really seeing one or two pieces of a story set on constant repeat. But there is so much more happening than either of those snippets. And I get to pay some attention to work in a way that has a different piece of the puzzle precisely because I do not aspire to become important as a venue.
Importance is overrated.
CP: What are some administrative influences and how have they colored your own approach to running a space?
PH: Artists need good opportunities to exhibit. I feel privileged to have such a big part of my own creative process that functions through the work other artists have made. I try to make the work and the show the focus of the experience. As much as I have a point of view in this, I want that to support the artist’s work, and not the other way around. I have worked as an administrator in several other capacities, and what everyone seems to want is freedom to choose things that have an importance, and for the things that aren’t valued by the individual to just disappear, to be done by elves. I work to make everything simple, approachable, and pleasant for the artists. If I can’t be the elf, I let them know. But if I can make something easier, I certainly will. My structure, my approach, is built on the philosophy that this will be what I want it to be, and what the artists want it to be, as much as possible. This is the place where you can ask to do anything, and it is a simple conversation. I am very aware that I am not an institution. I am not aspiring to be a lucrative business. I am opinionated, invested in fearless and sometimes transgressive art, I have a sense of humor, I have a sense of style, I am social and chatty, I enjoy a good beverage with friends, and I am intellectually motivated. I try to structure the shows to take advantage of all those qualities.
British Artist, Marcus Coates published The Trip (Serpentine Gallery, 2011) last year — a book documenting Coates’ project with terminal patients at St John’s Hospice in London. Coates interviewed patients, asking a a single, preliminary question: “What can I do for you?” Embedded in that question is an acknowledgement of mortality. Death is on the horizon and Coates offers to accomplish a task this patient can no longer see too, a task this patient regrets never having done. In particular, the book focuses on Alex H.’s request; H. asks Coates to go to the Amazon on his behalf. The first part of the book is dedicated to the proposal, wherein this request is made. The second half is written like a play, where Coates describes the experience of his travels. In one sense The Trip is a travel book. Coates is articulate about his experience with the Huaorani tribe, relaying answers that H. had prescribed. In another, the project raises questions of identity, location of self and self-lessness. It’s an incredibly altruistic project, and yet of course its couched as an art project, a gesture that seems to muddy the waters a little bit. Then too, if you take this work in the context of Coates’ earlier works, it fits into his ouevre as a public shaman. As a reader, participating in the nuances of this dynamic relationship is interesting, particularly when the presence of the Amazon is mediated entirely through a the guise of a written play. In other words, it’s possible Coates might never have gone to the Amazon at all. (The Trip has also been presented as a 35 mm film).
Coates has interested me for a while now; most of his work operates in a liminal space between somber and slapstick. Often the result is a little suspicious, and maybe even for that suspicion, the more compelling. His tongue-in-cheek approach to shamanic mimicry seems to illustrate the desire to step outside reality, to connect to non-human (and perhaps more primitive) modes of being, while admitting the impossibility of that desire. The fact that shaman classes are offered so casually (I imagine a sign up sheet tacked to the bulletin board of one’s local book store) is just another reflection of cultural desire. ”Coates was inducted into the ancient techniques of shamanism on a weekend course in Notting Hill, London. The workshop trained participants to access a ‘non-ordinary’ psychic dimension with the aid of chanting, ‘ethnic’ drumming and dream-catchers.Coates has explained the process as essentially being a form of imaginative visualization. Historically the shaman would have been employed to solve the daily problems of the community; since these usually involved the finding and killing of animals, shamans were valued for their ability to communicate with other species in the spirit world,” (Jonathan Griffin, Frieze, 2007). Coates has made a series of performances where he claims to communicate with animal spirits in the underworld, and after returning from their realm, delivers messages of truth. Or common sense? It’s hard to say. “I think firstly I should say that I am deeply skeptical myself, particularly about new age culture,” Coates said in an interview with Mark Sheerin. “Usually I kind of expect people to walk out,” he says of his rituals, “and I’m quite open to people calling me a charlatan and laughing. I quite like people not to be so reverential.”
Graham Coulter-Smith described Coates this way in art intelligence:
“In one work Coates buried himself in the earth in a consciously theatrical attempt to get close to the forces of nature. He has jumped into the sea on the English coast and on emerging attempted to adopt the mentality of a seal while being videoed—one must have something to show in a gallery. In the remarkable Journey to the Lower World, 2004, he took on the role of shaman dressed in a deer skin complete with antlers. This was a participatory performance situated in a room in high rise tower block in Liverpool—it was also videoed and so there must have been a camera crew present at the occasion. This performance required considerably performative skills in encountering working class Liverpudlians living in a high rise tower block awaiting eviction. The proposal was that Coates would help the residents come to terms with their problem via a shamanistic communing with animal wisdom. In the performance he give an introduction to his audience of working class men and women and then covered his everyday casual clothing with a deer costume complete with antlers. In so doing he mixed the ordinary with the extraordinary in a manner that does seem well suited to contemporary existence. He then delivered a curious and somewhat absurd performance in which he appeared to take on the spirit of the animal acting in an animal-like manner and making animal-like sounds. All of this was incomprehensible to the audience and the video camera turns on the audience to register their expressions of amusement, surprise and disbelief. Perhaps the most extraordinary/ordinary aspect of the performance is when he descends to the ‘lower world’ via the tower block’s lift (elevator). He returns to give the audience an account of his chthonic experience in normal language telling them what the animal world had conveyed to him about their predicament and hopefully providing them with some therapeutic comfort: the advice was not bad encouraging them to sustain their community in the wake of the eviction.”
And, in the same article (aptly called “Simulacral Shamanism” by ) Coulter-Smith puts Coates in the context of late capitalism:
“But set against romanticist inclinations is the inexorable mercenary pragmatism, the superficiality and homogeneity of late capitalism. It is impossible for contemporary artists to escape their cultural context and this is the case for Coates who freely admits he is not sure whether his artistic practice is spiritually significant or merely playacting.” (read the whole article by going here.)
I have been interested in a similar “Hipster Shamanism” idea for a long time now. It’s a phrase that came to mind four or five years ago for me when I’d walk around town and see all these 20-something kids wearing dream catcher t-shirts and moccasins. There were echoes in the deer heads at art fairs and hipster galleries, and a kind of feral youth aura emanating out of popular comic books. While it connecting that chain of icons to Native American spiritualist tropes would do for its own essay, let me just say here that Coates taps into that same zeitgeist, claiming to have access to an alternate reality while nevertheless admitting an uncertain ability to do so. It’s not quite ironic (he offers fair advice to those about to be evicted from their housing complex, for instance) and yet it’s is not quite serious either. It has a disquieting effect. While the hipster-moccasin trend has become less pronounced since, I believe there is still something to it. And somehow I think it’s tied to a sense that nature no longer exists because a) America is a domesticated suburb and b) separating humankind from “nature” is impossible. Without nature, though, there is no “elsewhere” to turn to. The network of global capital is impossible to step outside of — even if one dislikes its values and consequence. Under this light it’s as if Coates just embodies a fantasy to escape, but let’s go back to The Trip again: something real is at stake, just as some exchange is being made. Regardless of the framework that caused such an occasion, it’s a project that dives into the most basic maelstrom of humanity.
Devin and I curated a show at the Co-Prosperity Sphere in Bridgeport; it opened a week ago and tonight we’re having a mini-symposium called “Location/Location: The Mistranslation of Objects.” It’s an exciting show for us with some great work by Rebecca Mir, Carrie Gundersdorf, Heather Mekkelson, Ellen Rothenberg, Stephen Lapthisophon, Christian Kuras and Bad at Sports’ own Duncan MacKenzie, as well as Mark Booth and Justin Cabrillos. We were trying to curate a show that might explore an object oriented ontology. This exhibit closes on Wednesday, the 13th of June. It is open on Sundays from 1-4 and by appointment.
You have entered the Co-Prosperity Sphere: a large corner-space on a neighborhood block in Bridgeport, five miles from the Loop’s chain shops. The inside of this space feels old. It is massive — 2,500 square feet. A tin ceiling stands fourteen feet above you, not for stylistic preference — though it suits current vintage tastes — but due to an oversight; the previous owner of 40 years did nothing to maintain the building, using it instead as a hoarder’s storeroom. Before his time, when Bridgeport was prosperous and you could see cattle moseying to their death outside of the window, this space was a department store. The owner was the wealthiest man in town, and is said to have had the first car in the neighborhood, driving it across the street to the church on Sundays, throwing pennies out of his windows at children in the street. Since then the space — and the neighborhood — have been through a decline normal to working class neighborhoods in American cities. Hoarders bought the space in the 80s. Ed Marszewski moved in a few years ago and cleaned it up.
The wooden floor of the Co-Prosperity Sphere creaks when you walk on it. Light shines through a host of upper windows, reflecting off the wood like an old gymnasium. The new white walls and spartan emptiness assign the space to contemporary art exhibitions. This particular landscape is comprised of material — pillars, windows, floors, and doorways turn into wood, screws, pipes, bricks, plaster, glass and tin. The composition of this space exists on multiple levels. As concrete, discrete materials they fuse into one structure. More abstractly, these materials exist as indicators of past and present; each object tells a story through its own unique, associative system of influence. Sometimes the story is responsive — the sound of your footsteps or the water that runs through overhead pipes. Other times the story is inaccessible but conjured — the imagined sound of mooing cows or copper pennies against cement, indicating a different American economy. Or, the story is simply material — the unfinished areas of this space, the space beneath the stairs on the far white wall: if you peer around its edge, you can see the building’s insides.
What begins to emerge is an ecology that blurs the lines between life forms and inanimate material bodies. In Field Static we first wanted to create an opportunity in which relations between objects might be highlighted such that the field created via the installation of artwork would accent one’s material engagement. Each object within the Co-Prosperity Sphere would become focal point and periphery alike, suggesting both solitary histories and the peculiar synthesis of matter common to all things. Field Static rejects or, at least, torques art’s historically anthropocentric position — the poem is written by a human, the portrait is painted of a human — in favor of a more egalitarian engagement with objects.
Through this, we don’t mean to treat other species or categories of objects as citizens of another nation. Instead, we are trying to expand an established hierarchy where humans patronize other objects. How might a gallery show include the presence of bubble gum splotches, twigs, fan blades, icebergs — easily marginalized masses — in order to engender new political spheres? We hope to discover new ways of integrating experience and materiality so that less priority is placed on the human’s role amongst objects. This project is far-seeing: sentience in technology, impasses in distinguishing between “non-living” computer viruses and “living” biological viruses, and our current ecological condition all suggest the possibility that, to borrow the theorist Timothy Morton’s word, the mesh (1) we inhabit is much larger and stranger than we may have thought. This mesh is also able to exist, quite comfortably, without us. So how do we look at the relations between objects?
We became interested in curating a show around objects through familiarity with the work of Graham Harman, a philosopher and theorist based in Cairo, Egypt. Harman, along with Timothy Morton, Ian Bogost, Levi Bryant, and a few other thinkers, is one of the proponents of object-oriented ontology — a metaphysics that, loosely defined, rejects a human centered worldview in philosophy in favor of something more democratic. Instead of privileging the human subject’s relation to the world, object-oriented ontology hopes to democratize the field of metaphysics though a general inquiry about objects, specifically the ways in which objects interact with each other and the world. Object-oriented ontology is a metaphysics that asks not only how humans engage with the world, but also how forks, bee pollen, James Cameron’s depth diving submarine, and Sancho Panza’s donkey relate to each other and the world. Harman’s work is less about deprivileging the human than opening up the nature of the field — examining the infinitely complex assortment of materials operating within a given frame of reference. As Harman writes, his “point is not that all objects are equally real, but that they are equally objects.”1 In order to think the world, we must think about the world and the many objects that make it up, not only our relation to it. It is exciting and truly weird work.
Harman’s theories work out in many different directions. One of the most interesting, for our purposes, is the idea that though an object exists as a bundle of relations amongst itself and with other objects, these relations never eliminate the full spectrum of possibility residing within an object. The Co-Prosperity Sphere is a node within Bridgeport, within Chicago, both rife with their own complex network of encounters. You are distinctly aware of these very real relations, and together they build up the space’s identity. At the same time, the Co-Prosperity Sphere could also, possibly, enter into a number of different relations that we might not have any understanding of: it could be used by a sect to summon demons, it could be eaten slowly by Larry Coryell to improve his jazz guitar, it could slowly erode a statue of itself in slate. These are humorous examples, but they reveal how objects can exist more fully outside of whatever relations they may exist in currently — whether they enter into those relations or not. Even if we were able to list every theoretical relation this space could enter into, it would still have other relations beyond our list. The number and variations of its relations is infinite but in every instance, whether micro or macro, the objects within that field can never be reduced to their relations. They are not simply indicators of signification, but exist within a network. Consequently, objects — as metaphysical bundles of all the possibilities of their relations with themselves and other objects — are ultimately withdrawn from each other and themselves. Objects are always at a remove from their relations.
Harman more fully explains this idea through the image of a sleeping zebra in CircusPhilosophicus, a series of alternately humorous and petrifying myths he wrote to explain the basic tenets of his ideas:
For first, [the zebra] rises beyond its own pieces, generated by them but not reducible to them. And second, it is indifferent to the various negotiations into which it might enter with other objects, though some of those might affect it: as when the zebra interacts with grasses for its meals, and predator cats for its doom. While the zebra is cut off from its pieces in the sense of being partly immune to changes among them, it cannot survive their total disappearance. But by contrast, it might survive the disappearance of all its outward relations. And this is what I mean by sleep, if we can imagine a truly deep and dreamless sleep…Sleep should not be compared with death and its genuine destruction of the zebra-entity: sleep entails that the thing still exists, but simply without relation to anything else…Sleep perhaps has a metaphysical function no less than a physical one: as a kind of suspended animation in which entities are withdrawn from the world. And perhaps this happens more than we think.(2)
Like the zebra, the Co-Prosperity Sphere could be ripped in half by a giant and sacrificed to Goran, Lord of the Impetus, or it could play a game of Go with the bar down the street, and yet, through all of these changes, it still exists, partly, as a space for the community to gather in. As Harman writes, objects are “partly immune to changes among [its pieces].”2 Were we to remove all of the space’s outward relations — you, inside the space, reading this book about it, me writing this essay a month prior, thinking about the space, the printer printing these words about the space, the ink coming out of long tubes, the humidity wrinkling the pages, the recycling bin holding the book about the space, the recycler pulping the book — the space might still exist, withdrawn from these outward relations, in something like sleep. While it is impossible to gain access to the withdrawn aspects of an object, it is our belief that the best art, at least, allows us a place to exist in a type of still-sleep with an object. We’ve curated the artists in this show in the belief that their work engages with objects as bundles of relations in the field of the world, and yet, through their work, the artists show these objects as still, withdrawn, sleeping entities.
Still, the artists in Field Static engage the world of objects in different ways. The show should not be seen as as a grouping of artworks that fulfill any one approach to objects. While our curatorial impulse was inspired by Harman’s philosophy, we nevertheless present works that address objects in a variety of ways.
Of course, all exhibits exercise this interest; historically, art is the making and honoring of objects. However, the peculiar and various approaches these artists take to field and object-making seem particularly compelling, especially when their work could be assembled under the umbrella created by the Co-Prosperity Sphere. We are not looking to project human metaphor onto the state of these artworks — although those poetic nuances are probably an inevitable facet of an aesthetic experience — but rather to invite your imagination to consider the sleeping potential of these things in their thingness, their associative and personal autonomy in the world, each with its own discrete and, by now, non-contingent identity. A strangeness emerges — similar to the eyes of a fox, the unripe stem of a green banana, or Achilles’ shield — all familiar and unknown, a potency common to all things that nevertheless remains out of reach.
Rebecca Mir’s work is simple and understated. She often works with paper, small collections of objects, and her own body arranged quietly. This humility in equipment is connected to Mir’s infatuation with punk culture that shifts into an engagement with the landscape. She has also written love letters to the ocean. Perhaps the best way to think about her work is as an amalgamation of bygone Romanticisms — nature, the lover, the explorer, the punk rocker — that add up to rediscover the sincerity currently lacking in all of these labels. For this show, we were most interested in Mir’s engagement with nature. We gave her the storefront windows to fill up and she gave us hanging sheets of paper with flat black prints of icebergs on them. These are the most frightening objects in the world, slowly leading us towards underwater cities. Mir’s prints garble our response; we instead encroach upon the ice.
When we met Ellen Rothenberg to talk about this show, she shared pictures of older pieces she had made and used during performances: clocks on a pair of shoes, or a wooden shovel with words engraved on its mouth. They were tempting to curate into Field Static for their embodiment of an inaccessible past-use, an original context no less significant then their present status as formal, sculptural works. But then Rothenberg showed us a more recent piece she had exhibited in Berlin. In her installation, Constellations, Rothenberg establishes a literal field via small blue signs printed with arrows and red vintage price tag cards. She assembles these on a wall or in a room; the proportions of the work vary depending on the site. In every version, these small indicators create an enigmatic field or map. The price cards elicit a time when two cents might have been a useful sum — think of those children in dirty boots on Morgan Street. Relative to our current economy, the sums are so small as to be powerless and dismissable. The oblique arrows, meanwhile, propel the eye to wander among these many numerical islands. The precision of placement combined with the interplay of materials and time: the slick, contemporary instructional arrows, against the foxed, nostalgic price tags are fixed to the clean white wall by antique metal clips. A tension emerges flike a magnetic field as the viewer is absorbed in the act of looking.
In Diagram (2010), Christian Kuras and Duncan MacKenzie installed a multi-leveled series of roofless recangular rooms; the entire system looked like a complex model of a building site. Balsa wood rooms connected by ramps on cinder blocks, coffee cans, and side tables. Cords lay around the floor of the installation, a bare flourescent light tube, a lamp, a plant. In one instance an antique sign, “Girls Toilet” was legible. This assemblage conspired to portray some kind of institution — a university or a corporation — the ‘rooms’ clearly exist in a network, even if their function within that network is unclear. In an effort to grasp the purpose of this material system, you might lean in to read the pencil marks, left behind by the artists in the process of making. These do not unlock the piece. It remains at bay, undissmissable because of its sprawl and, even, the care toward detail. In Field Static, Kuras and MacKenzie work with letters, transforming a textual message in a game of anagrams. They began with one phrase originally mailed as an off-the-cuff collage from UK-based Kuras to Chicago-based MacKenzie. MacKenzie and Kuras reorganized the letters of the phrase into stacks, paintings, and phrases that may or may not be legible to the viewer. While connected to their original context, each new combination creates a new meaning contained in the original. The text is distant, distinct, and equitable to its physical counterpart.
Last winter, Mark Booth composed a durational performance at Devening Projects during his solo exhibition God Is Represented By The Sea. For one performance during that exhibition, the improvisational bellows and electronics duet, Coppice (Noé Cuéllar and Joseph Kramer) played music with Booth for roughly four hours. During that time, twelve individuals were asked to read Booth’s score: a stream of ever shifting phrases in a loop. The last word of one phrase became the first word of the following. “God is represented by the sea” became “The Sea is represented by an irregular shape” and so on until we arrived at last to “An owl is represented by God,” at which time the readers would begin again. The words became blocks, algebraic variables that could be swapped in and out of one another. Booth’s piece evokes an intuited, physical structure in language; he seeks to find an equivocation, a way to codify experience through metaphor. Here, he has installed a sound installation with flags entitled: I IMAGINE YOU SLEEPING SIDE BY SIDE AND WHILE YOU ARE SLEEPING YOUR SOULS RISE TOGETHER LIKE A FLAG ON A POLE FLUTTERING SOUNDLESSLY IN A WINDLESS WIND AND THE FLAG OF YOUR LOVE IS SHAPED LIKE [...]
Objects are often manufactured by human beings; it is sometimes difficult to imagine their autonomy. We know rocks come from mountains and meteors, so they observe an obvious independence from the human sphere. But what about old tires or tennis balls? In what way can those objects boast a non-contingent being when their original purpose is tied to human activities? How can such an object fulfill its potential if its potential is reliant upon human use? Heather Mekkelson articulates one possible answer. Over the past several years, she has made a practice of fabricating distress. Mekkelson begins with new objects — phonebooks, traffic cones, caution tape, fans, or blinds — everyday, banal objects. Through a variety of processes she imposes the visible signs of deterioration and stress on each object and, placed in an exhibit, these objects evoke a traumatic narrative, as ready-mades discovered by accident in the wake of disaster. The distress of the objects suggests their secret lives or past, an encounter made more interesting given that Mekkelson’s objects never endured such trials at all. Their life was spent in her studio. In more recent work, Mekkelson has created a telling-point on the object that allows the viewer to see the artifice of distress. At one critical point of perspective the viewer can see both the artifice of distress and the object’s unadulterated newness — like on a stage set when you see at once the façade of a town and the plywood backing on which the town is painted. That point reveals a moment of interior instability; it is as though the object is telling you it is lying. The object is laughing at you, or winking, confessing its own ruse.
Alhough we first knew Justin Cabrillos as a sound poet, we’ve been lucky to see him as he’s developed into a somatic phenom. We’ve included his video Dance for a Narrow Passageway — a work that shows Cabrillos improvising a dance in a passageway. Before composing the piece, Cabrillos spent time observing movements in passageways, both his own and others: buses, subways, airports, even passageways in dramatic movies. He is embodying the influence that space and non-human bodies have on human choreography. The one rule of the improvisation: move like somebody would move in a passageway. When talking to us about the piece, Cabrillos emphasized his interest in the absence of other objects as he came into movement — the passageway encourages nothing but the supposed emptiness of transition. It also has a history: many bodies, winds, and drips have left their associative trace: that past is something Cabrillos is responding to as well, embodying it. Like a corporeal version of John Cage’s famous anechoic chamber experience — where the composer learned that the world was never truly silent — Cabrillos’ video indicates that one is always connected to other bodies.
Is it possible to imagine the inner life of objects? It seems we are not quite permitted to apprehend the idea. We cannot imagine what such a sleeping interiority would be like, especially when discounting the tools humans dream with — thought and words and pictures. Instead we must describe the possibility of an object’s interior space by activating a sense of its absurdity. In a kind of negative proof on his website, Stephen Lapthisophon shows a looped video of a potato, alone on a shelf. In the background we hear jazz music. Because of an automatic desire to anthropomorphize the potato, we imagine the potato — otherwise absolutely still and solitary in the frame — listening. The scene becomes comical. And yet it describes something about the constant, albeit invisible, movement of a potato: it is constantly deteriorating, or growing, or leaking, or emitting vibrations. Conceiving of its ability to hear and listen is a way to access, through metaphor, the potato’s experience of itself. For Field Static, Lapthisophon shows The Taxonomy of Root Vegetables, a long, crude shelf stacked with many different still growing, still rotting, root vegetables. The piece, to us, builds off Lapthisophon’s humorous depiction of a morose tuber. Instead of an attempt and appraisal of projected experience, Taxonomy suggests unfamiliar, mutating ecologies and locates the fruitlessness of our contrived negotiations as we seek to categorize and map our world.
The inaccessibility of individual objects can be compared to the inaccessibility of our environment — as our awareness of very small objects builds up, we bump against the infinite array of inner lives, and the very large mesh that consists of animals, insects, bacteria, rocks, ashes, oxygen. Slowly, we bump up against the sky, the world of planetary bodies: the sun, the planets, the stars, light. Carrie Gundersdorf observes, paints, collages and draws solar phenomenon on two-dimensional picture planes that reference modernist painting. In one collage, Gundersdorf collects a variety of different images of Jupiter. She assembles these images in a grid on one sheet of dark paper. One sees the many sides of Jupiter at once but we are no closer to apprehending this planet. This is not simply the result of scale or medium; Gundersdorf is very literally transcribing astral photographs. And yet Gundersdorf’s work shows how astral photographs are manipulated by space and technology. The picture of Jupiter has traveled through eons of space, been reflected on a variety of mirrors and then digitally enhanced with various colors and contrast in an effort to indicate data. Those manipulated images represent the source material that comprises our collective experience of Outer Space. In this show, we have included Spectral Trails with Absorption Lines, a drawing that depicts the spectrum of light. Here too one is called to consider not only the camera’s apparatus, but also the receptive reed of the body: the stereoscopic vision of two eyes — what is then intuitively and unconsciously synthesized into one cohesive whole. Add to this the limited capacity of our oracular perception: We can only see a very narrow portion of the spectrum. Given our minimal sensitivity to light, how could we possibly see all objects? What objects are we missing?
Hopefully these works, along with this book, will lure you into an experience of Field Static in which you begin to account, through perception, for the discrete fields asserted within discrete works; and then the field described by the works together; and then the field described by the entire show in the context of the space, a space in which we are immersed. It is an uncanny and perhaps anxious position, as we grow ever more aware of the inexhaustible relations between non-human things.
This essay was written by Field Static curators, Caroline Picard & Devin King. To schedule an appointment for viewing, please email email@example.com
1. Timothy Morton. The Ecological Thought (Cambridge: Harvard University Press, 2010).
2. Graham Harman. The Quadruple Object (Washington: Zer0 Books, 2011), p. 5
3. Graham Harman. Circus Philisophicus (Washington: Zer0 Books, 2010) p. 72-3
4. Harman writes, objects are “partly immune to changes among [its pieces].” Circus Philisophicus (Washington: Zer0 Books, 2010) p. 72.
Work by Tim Piggott, Daniel G. Baird, Michael Una, Adam Farcus, E. Aaron Ross, Thad Kellstadt, Alex Bradley Cohen, Nick Peterson, Jim Zimpel/Anna Reich, Miguel Cortez, Kevin Jennings, Edra Soto, Jake Myers, Mathew Paul Jinks, Jourdon Gullett, Brian Wadford, Jerimiah Hulsebos-Spofford, Andrew CopperSmith, Rebecca Beachy, Frank Van Duerm, and Phil Parcellano.
TERRAFORMER is located at 3216 S. Morgan St. Reception Sunday from 4-8pm.
SMALL Showroom Opening Party at 3219 S. Morgan St. Reception 5-10pm
Dusty Groove Records Party at 755 W 32nd St. Reception 7-9pm
Enoch’s Donuts + Kevin Heisner’s Tool Party at 755 W 32nd St. Reception 6-9pm.
Paratext Bookstore at 755 W 32nd St. Reception 6-9pm.
Bridgepop SpringPop at 3143 S Morgan St. Reception 6-9pm.
Ray Emerick Studios Opening at 3149 S. Morgan St., #1. Reception 6-10pm.
Research House for Asian Art at 3217 S Morgan St. Reception 6-9pm.
All receptions on Friday between 5pm and 10pm.
Curated by Liz McCarthy. Work by Sarah Mosk, Caroline Carlsmith, Rebecca Beachy, Lauren Edwards, Sophia Cara Dixon, Emily, Lauren Beck, Robin Hustle, Ellen Nielsen, Meg Noe, Jenny Kendlre, Melissa Demasaukas, Alex Chitty, Megan Diddie, and Caroline Picard.
Roxaboxen Exhibitions is located at 2130 W. 21st St. Reception 7-10pm.
Work by A. Laurie Palmer.
Threewalls is located at 119 N. Peoria St., #2C. Reception Friday from 6-9pm.
Work by Shelby Lee Adams.
Catherine Edelman Gallery is located at 300 W. Superior St. Reception Friday 5-7pm.