Alvin Baltrop
David Berezin
Jonathan Berger
Elaine Cameron-Weir
Felipe Jesus Consalvos
Vaginal Davis
Lee Godie
Charles Harlan
Andy Kaufman
Rebecca Kolsrud
Andres Laracuente
Bob Mizer
Borna Sammak
Cole Sayer
Stuart Sherman
Eugene Von Bruenchenhein
Bill Walton
Philadelphia Wireman
Damon Zucconi

JTT
Project Booth no. 19
NADA Art Fair, Miami FL
December 1–4, 2011

Featuring the work of: DADDY, Andrew Graham, Avery K. Singer, Michael Vahrenwald, Joshua Caleb Weibley, Damon Zucconi

Featuring works ranging from sculpture to interactive installation by: Lorenzo Bernet & Yannic Joray, Sam Hancocks, Martin Kohout, Oliver Laric, Christian Oldham, Aude Pariset, Tabor Robak, Timur Si-Qin, Micah Schippa, Kate Steciw and Damon Zucconi. This exhibition coincides with the release of Katja Novitskova’s book Post Internet Survival Guide 2010.

Opening reception September 9th · 7:00pm – 9:00pm

Cleopatra’s
110 Meserole Ave.
Brooklyn, NY 11222

A change of phase…means a change of equilibrium.
— Henry Adams, “The Rule of Phase Applied to History”(1909)

Gentili Apri presents Translation as a Structuring Principle: If A Then B, a group exhibition with works by Patrick Armstrong, Lindsay Lawson, Marlie Mul, Hayley Silverman, Anne de Vries and Damon Zucconi, organized and curated by If A Then B on the occasion of the launch of the namesake journal, issue 1.

Aphasia stands at the locus of our perceptions. The moment we strive to make visible this empty center is the moment most fraught with its negative violence; this is the translator’s duty, to frame a language at the precipice of failure.

The work of art is often its own best translator. A work translates an original; or, the original masquerades as its copy. We have no way of distinguishing the two.

If A Then B works with writers and artists, at the limit of this structure, who use translation as a tool for production. On the occasion of the launch of our journal issue 1, If A Then B presents an exhibition of works which play off these themes in further variations.

The parallel logics of substitution, virtuality, and replacement have dispelled the singularity of the unique art object. Commentary overshadows production; works derive their own self-critique.

This structure is apparent in the works we have chosen which, generated in an economy of iteration, are continuously self-alienating. Misinterpretations, errors, failures of understanding—these are more fruitful for any ‘final’ result than the adherence to fidelity, either to a mimetic love, or to the possibility of a representational sphere outside that of the duplicate.

We have felt the need to shift forms of production based on the inherent, generative duplicity of the works we translate; the journal is only one moment in the continuous orbit of these rotating mediums. The exhibition provides its extension, a translation of a translation.
Or it might go the other way.

Curated by Hayley A. Silverman

Opening 11th, September 7pm – 11pm
9/11/2010 – 10/18/2010

Open Space Gallery
2720 Sisson St.
Baltimore MD 21211

The first fortress started with a wall. Behind that wall, survivalists sat prepared for future disruptions, accidents, disasters—building structures that would help them endure, or just simply disappear. Contemporary interior spaces—malls, fluorescent-lit schools, art galleries—have undergone what Virilio sees as a smoothing process, with the elevator succeeding the stairway. This erosion of resistance dampens the tactile link between people and their surroundings.

Strength arises from disequilibrium. A Greek hilltop village has produced growing numbers of centenarians due to their working on slanted surface; the steep grade of their surroundings adds a measure of tension to all aspects of daily life. Resistance builds future resistance. Physical difficulty heightens our senses and activates our sense of agency. It places us in movement and teaches us about the nature of our bodies, which are always in the process of restructuring themselves.

The fortress, among other military earthworks, was left behind as a reminder of ancient warfare. Amid dense brush, spoiled building materials, animals forming back into packs, what canned products will still taste good? Are we in control of what we produce?

The art object will slowly recede into the Earth, creating a strange footprint, while the Earth object resurfaces, changed.

The artifacts and ideas within these walls, in this show, reflect potential collisions and the unknowable nature of the future. These artists expand the field of the unknown by projecting their purpose toward a specific future—drawing maps, sending out signals, and demarcating passages from their personal sites of experience.

To occupy one’s own agency is to take control of one’s alienation. To be an artist is to be in charge of one’s life.

In case of fire, plague, wreckage-— the artwork will need to relocate to higher ground.