I have made conscious decisions to support artists that live in and produce within ecologies of the body and world in a way that seeks to represent the process of moving into some sort of raw reality or deeper truth, realities or truths that can only be known fleetingly. Of acknowledging what is the truth of the moment, and how that is interconnected to all living things, non-living things, systems of race and class, ideologies of power and economy, and so on. Narrative and meaning exist as support structures within this mode, but as self-reflexive tools that are also by-products. They are treated as just another level of thought trying to understand that that cannot be understood, another level of mimesis. — Paul Soto, gallerist*
AUTOMATIC DOOR, a group show at Park View / Paul Soto, will be up for one more week.
Participating artists include Victoria Colmegna, Andy Giannakakis, Aidan Koch, MarkMcKnight, Dylan Mira, Alex Olson, Matt Paweski, Autumn Ramsey, Mark A. Rodriguez, Kate Spencer Stewart, J. Parker Valentine, and Willa Wasserman.
The launch party for CARLA 17 is this weekend at Park View / Paul Soto.
The new issue includes features on Donna Huanca, David Hammons, Ragen Moss, and collectors and Gemini G.E.L. founders Elyse and Stanley Grinstein.
Concurrent with the launch is AUTOMATIC DOOR, a group show featuring the work of VictoriaColmegna, Andy Giannakakis, Aidan Koch, Mark McKnight, Dylan Mira, Alex Olson, MattPaweski, Autumn Ramsey, Mark A. Rodriguez, Kate Spencer Stewart, J. Parker Valentine, and Willa Wasserman.
PAINT, ALSO KNOWN AS BLOOD—WOMEN, AFFECT, AND DESIRE IN CONTEMPORARY PAINTING is a large-scale exhibition “devoted to women whose painting practice re-evaluates stereotypes concerning submission and domination”*
The show—featuring work from Poland and abroad— “takes on the challenge of representing the intensity of the external and internal worlds…
“In the beginning of the 1990s, third-wave feminism introduced a new, sometimes self-mocking and ironic, unconstrained and exhibitionist tone in the debate on the images of women in culture, their social roles and desires, the physiology of their bodies, and identity. The exhibition demonstrates that—despite the advancing digitization and dematerialization occurring in social media—firmly embedded in the body, its pleasures, and traumas, painting remains an exceptionally evocative medium for representing human experience.”
“In the context of current social transformations, the postulates of equal access to reproductive and sexual rights, and the race and class struggles, women’s painting provides an important contemplation on the violence inscribed in the orders of seeing and consuming images—how we look at them, what we see, and how others see us. And yet, this is not the kind of painting that seeks to forcibly instruct, provide current affairs commentary, or to admonish. Rather, it calls for alternative scenarios and, most of all, the freedom of expression and the presence of multiple, intersecting identities…”*