At the End of the Game You Will Be Forgotten group exhibition at Alyssa Davis Gallery, New York
Published
Installation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018Installation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018Installation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018Isabelle Frances McGuire, Cheap is Life, 2018, Sugar, dead dough, egg, corn and wire, 16 x 16 in.Bea Fremderman, Untitled, 2018, Cell phones, pantyhose, found wood. Bea Fremderman, Untitled, 2018, Electronic scrap, found woodInstallation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018Fin Simonetti, The Last Judgement, 2016, Pen on paper, custom frame, 30 x 20 in.Georgia Horgan, All Whores are Jacobites, 2017, CAD embroidered cotton velvet, lecture chairs, linen-mix trimGeorgia Horgan, All Whores are Jacobites, 2017, detailGeorgia Horgan, All Whores are Jacobites, 2017, detailGeorgia Horgan, All Whores are Jacobites, 2017, detailGeorgia Horgan, All Whores are Jacobites, 2017, detailGeorgia Horgan, All Whores are Jacobites, 2017, detailInstallation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018Loney Abrams + Johnny Stanish, No Species, 2018, Resin, silicon, plastic, human hair, 28 x 16 x 10 in.Loney Abrams + Johnny Stanish, No Species, 2018, detailLoney Abrams + Johnny Stanish, No Species, 2018, detailLoney Abrams + Johnny Stanish, No Species, 2018, detailInstallation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018Installation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018Ficus Interfaith, Redwood at Night (title by Frank Traynor), 2018, Wood, cement, marble, seashells, petrified wood, 13.5 x 20.5 in.Ficus Interfaith, Redwood at Night (title by Frank Traynor), 2018, detailInstallation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018Adam Shiu-Yang Shaw, slow utterance (grighund), 2018, Wood, plaster, latex paint, aqueous pigments, iron, sodium, 13.5 x 11.2 x 3 in.Adam Shiu-Yang Shaw, slow utterance (grighund), 2018, Wood, plaster, latex paint, aqueous pigments, iron, sodium, 13.5 x 11.2 x 3 in.Installation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018Installation view: At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, 2018André Filipek, CAPITANES, 2018, Nylon PLA, body filler, enamel, Spirulina, 12 x 20 x 15 in.André Filipek, CAPITANES, 2018, Nylon PLA, body filler, enamel, Spirulina, 12 x 20 x 15 in.Bea Fremderman, Untitled, 2018, Electronic scrap, tin can, artist debit card, dental floss, plumbing accessory
Consider a digsite. Digging is always a vertical movement, down into the archaeological matrix. Each layer, defined as a unit of sedimentation greater than one centimeter thick, is separated from previous layers by an event. A fire, a flood. These intervals are discrete changes in the character of the material being deposited.
Esther Leslie argues that excavation is an ‘inverted’ astrology. “Astrologers study the forces and influences of the stars,” she writes, while excavators discover “the manifold properties of earth and stone strata.” Geology is regarded as nature’s writing, a cipher language. “The language of our world is reflected in the underworld, if subject to decoding.”¹
What time is it?
All possible histories are encoded in the strata. A Temple column supports a basilica’s nave; broken palaces find their way into household walls. A fine intaglio is encrusted with black accretions and dusted with so many layers of silt and sand that it becomes a pebble. At the digsite, such actors, both artifactual and ecofactual, must be coaxed into speaking.
The thickness of an event, and the earth in which it is held; an open shaft; the patina of an old chair; the carbon cycle. Nothing is new, and nothing is not new.
1. Leslie, Esther. Synthetic Worlds: Nature, Art and the Chemical Industry. London: Reaktion Books/Univ. Chicago Press. 2007. 38-39.
