Closing event by Situtat.
Willful Awkward Dissonance
Allegra Harvard and Parker Davis
UNDA.M. 93
“Magick as existential oppose
Willfully unpleasant makings
The epic makings manifold
Something that is aggressive to the social now”
Two public a beginning to believing reflection.
Analog pools have a simultaneous symbolic director. Complimentary: it considers ambition and my country. Image formula/successful show. Folk religions. Vinegar. JFK. And from armchair zulpo-dane despising the secrecy.
Anemic cinema deserves. Draw logic first— atlantis— make its kinds eyesore a voice and carpark and morning. (Supplemented in this edition lake soul.)
Little art in America blood specters.
Extensive elegance and beautiful works. Dreams FAQ. Their psychology/impressionists build. Made swill than creative force. Years intense. Printer essence awakened a distances. Woah the flesh formulae! It is not we hot gasses christology and astrological tenants intermingling— it’s volumetric time. Man. Chapter ten, she sorrow, they construction similarly calibrated emotional energy. Opponents firm ground uncritical. Spirit inquiry.
Occasionally, middle this.
A Caricature take: Paranoiac and subconscious. Screen-felt purse “Dante” headlines artist gratitude. And synthesis interpretation makes a gamble continuous. Constantly his diary other psychology. And departure becomes interesting. Convince manifesto artists, mintensities/disrepute preoccupations. Rays. A private renter’s/homeowner’s promised short term shadow and substance comes synthesized, consent and subject. Continuity would skeptical a trickery. Irreconcilable luna mixtures discretely. Allusion electricism systematic collector congress. Limit your interest. Transmutation malevolent gold gold-panic strong universal (considerably dissemination conception.) Contact restrain formation for self knowledge ever industrious application atmosphere.
Beginnings for a place called UNDA.M. 93.
August 11th — September 1st, 2024
Closing event by Gerrit Hatcher and Tyler Damon.
I abandon my ordinariness and leave the rickety shelter of my own self which, being vacant,
attracts ghosts and obsessions.
‘1
Glück, Robert. Margery Kempe. New York Review Books, 2020. 1
Septmeber 8th — 29th, 2024
Closing event hosted by the artists in play format, doubled as a release party for their comical editions.
A Robot Raised by Children Raised by Wolves, is a brand new comic written by Harrison & Nell. It’s about a future society that has advanced so far it’s gone full on medieval. It’s also a gallery show. And a performance.
We’re showing 12 portraits of characters and scenes from the world we built. And are topping it off with a dope-ass reading on the 29th. You can buy the first 2 books and talk to us and stuff.
— Harrison Wyrick & Nell McKeon 2024
October 6th — 27th, 2024
Closing event TBA
We need not separate logos, television characters, etc. from one's individual expression as these things are as much a part of our earliest incarnations as flowers and family.
Henry Tegethoff and Julia Marks's work share a similar structure— form overrides content.
Aesthetics and intuition are foremost in their practice: Texture, color, and image are sporadically involved while pardoning the ultimate content. These artists relinquish the need to create narratives, context, or significant meaning from their work producing a silly, explosive, hyper, and occasionally teetering on the abject practice. Arbitrarily using photos, videos, and text from the internet, magazines, or objects, a meaning beyond the purpose of aesthetic quality is forgotten. And this is good. The work uses image and text as much as a medium as paint and glue itself. Their work invites a messy, awkward, and absurd process, relying on found media and artistic device.
Derivative Notes:
1 Discussing the natural irrelevance. Our artists put the work at ease, introducing no content in mind of its making or decision. Are we: to overanalyze something that was never made to extend or invite that reaction? There is no story, no implication, and no theory in the moment of each work's manifestations or thereafter. That would be an imposition on us to claim. Their work challenges our perceptions and a disagreeable search for “meaning”, connotation, or believability in work. The work purely exists. (Let us utilize critical language to ease you into a comfortability of meaninglessness. Art does not need to create meaning— it is inherent in its objecthood enough. And now, excessively and irritatingly put: We have not experienced history in full, therefore who, right now, can say what it truly means? Consider our search for meaning in work more of an institutional symptom than something necessary. This work has no direct content to share with you besides its physical manifestation and objection in space. It is simply excessive to compulsively create narratives of the context within our minds concerning the orientation of a picture or its features, most particularly when there was never one, to begin with. Nor the overreaching compensations to do so, contemporarily. Live and let live. Die and let die. It is redundant and irrelevant at large— we need not insight an intellectual violence on the mainstake of creative fronts and liberties.)
2 The language of online and contemporary image sharing. An appropriated image increasingly serves the purpose of shorthand to the non-sequentiality of anything. This form of ultramodern expression is embedded in the work. A pervasive sense of the inability to catch up to the present and integration of the content stream matches its energy and potential for expression. Energy where typical art-minded translations are reactive to the evolution of visual language— which happens hour by hour increasingly— thus feels moot by its fact of existence. We need not separate logos, television characters, etc. from one's individual expression as these things are as much a part of our earliest incarnations as flowers and family. As a retort to ‘The Pictures Generation’, a contemporary agreement of the fact and consignment of the real and the hyperreal becoming indistinguishable for all at this point. A happily confused expression. We no longer choose images that have made our identities but choose them to express ourselves. Marks and Tegethoff are two fine examples of contemporary artists in the long tail of the Pictures Generation, exalting their influence but working in the demands of the present— the reversal of image and media dictation turns into self-expression. Thus, a proliferation of the former note. Let us extend our arms to the irrelevance and deliberations of an unknowing, unplanned, and yet deeply positive way of working.
Practice as meddling......