We became aware of a space in which there was just the apex of a pyramid…. then realized over a period of years that the apex was actually one corner of a cube. Many years pass by, and we become conscious of a blob growing on the lower corner of the cube, which had been the original apex corner. As the blob grows, we realize that it’s our brain… and some years later we realize other people are there too... *
After I ACCEPT closes this week, posters may still be available.
This is the closing week of AVENGERS—SOMEONE LEFT THE CAKE OUT IN THE RAIN, a group show at Gaga & Reena Spaulings Fine Art, Los Angeles.
The exhibition features photographs by Julie Becker and Reynaldo Rivera—including several from the Cha Cha Girls ’87 series—prints by Juliana Huxtable, Stephen Willats, and FelixBernstein & Gabe Rubin, paintings by Jill Mulleady, Mayo Thompson, and Bedros Yeretzian &Nicole-Antonia Spagnola, multimedia works by Harry Dodge, Megan Plunkett, MatthewLangan-Peck, and Larry Johnson, and videos by Ken Okiishi and Gary Indiana.
In addition, Hedi El Kholti’s Collage sketchbook #10 is here, as well as ABC Pong, BernadetteCorporation’s table piece, featuring audio by Sylvère Lotringer.
On closing night the gallery will host a video program, with work by Alexander Kluge, AlexHubbard, and exhibition artists Dodge, Huxtable, Indiana, and Spagnola.
“I think theory should be misread. To demand the integrity of a theory is a very strange concept mostly made for people who aren’t theoreticians.” — Sylvère Lotringer, circa 1990*
The centerpiece of BERNADETTE CORPORATION: THE GAY SIGNS**—a new exhibit at GagaLosAngeles, in MacArthur Park—is ABC Pong (2017), a long table displaying, on one half, words engraved on an acrylic sheet indicating triggers for a free-association word game. Encased in the other half of the tabletop is a monitor screening a visually altered HD video of Sylvère Lotringer playing the game—the editor, publisher, writer, filmmaker, theorist in his Los Angeles apartment holding forth on art, semiotics, and the nature of time.
BERNADETTE CORPORATION: THE GAY SIGNS
HOUSE OF GAGA, 2228 West 7th Street (enter on Grand View), Los Angeles.
*Lotringer, in ArtCenter Talks: Graduate Seminar, The First Decade 1986–1995, ed. Stan Douglas (New York: David Zwirner Books/Pasadena, CA: ArtCenter Graduate Press, 2016), 61.
**A play on Nietzsche’s The Gay Science (1882).
Image credit: Sylvère Lotringer, film still from The Art of Time, 2010, directed by Katherine Waugh and Fergus Daly. Image courtesy of the filmmakers.
Anicka Yi, The Flavor Genome, 2017 WhitneyBiennial Image credit: Whitney Museum of American Art
The facts are encouraging. Instead of going to art school, Anicka Yi became her own apprentice, working through her 20s in the fashion–media complex (ad agencies, photo shoots as a stylist, a project for The Face). Moving from London to downtown Manhattan in the mid-nineties, the Bernadette Corporation rubbed off, and Yi, in her 30s, started making art.
Yi has called her viewpoint “techno-sensual”—a perfect description for an artist whose work engages the sense of smell as much as sight. She works out of science labs in the city as well as her studio in Bushwick. (In fact, she may prefer the labs.) Her materials have included kombucha, dead mammals and shellfish, fake fur, paper, dough, soap, flowers, and the bacterial samples of 100 women fashioned into paint.
Yi’s 3-D video THE FLAVOR GENOME is now on view as part of the 2017 Whitney Biennial, and her Hugo Boss Prize-winning show LIFE IS CHEAP will be at the Guggenheim until July 5.
ANICKAYI—LIFE IS CHEAP, through July 5
SOLOMON R. GUGGENHEIM MUSEUM,1071 Fifth Avenue at East 88th Street, New York City