skim milk
Morehshin Allahyari
Jesse Morgan Barnett
Michael Mazurek
Lana Paninchul
Jeff Zilm
curated by Kevin Ruben Jacobs of Oliver Francis Gallery
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SKIM MILK is a personal off hand reference to William of Ockham’s Razor - ‘Pluralitas non est ponenda sine necessitate’ which translates to ‘entities should not be multiplied unnecessarily’. The phrase Ockham’s Razor is often used to describe that the simplest explanation is usually the correct one, but there are of course nuances to the phrase that have given it life throughout centuries of philosophy, mathematics and logic since it's initial utterances. Skim milk is a version of milk containing little to no cream (milk-fat) from production, leaving skim milk fat-free. In essence, skim milk is the result of relinquishing fat as a seemingly unnecessary property from milk, which could be likened to a principle of economy in logic and language.
The work in the exhibition does not necessarily take the route of explicating these ideas, but rather as a matter of working though their own practices, each artist is an experimenter, generating hypotheses and initializing and negating variables that more or less create unwanted problems.
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Oliver Francis Gallery no es un espacio de arte alternativo. OFG es dedicado a mostrar experimental
obras y proyectos de artistas emergentes y establecido, a nivel local e internacional, con especial
atención a instalación, nuevos medios de comunicación, rendimiento y el trabajo conceptual.
El espacio principal de la OFG física está en un edificio discreto en Old East Dallas vecina dos autoventa lotes. Formalmente, el espacio era una tienda de marcos y la sede de una vez de una política radical activista en los años 70. En julio de 2011, OFG comenzó como un espacio de proyecto con la exposición inaugural "Siete días en los Estados Unidos" por Francisco Moreno. Durante el primer trimestre de 2012, OFG comenzó a representar a los artistas. Espera mucho.
In Free Fall
Curated by Rachel Steinberg
6/14/13 – 6/30/13
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For the first half of the summer program at Interstate Projects, the basement gallery will contain In Free Fall, curated by Rachel Steinberg, which borrows its title from the essay written by Hito Steyerl of the same name. The exhibition will feature works by artists: Leah Beeferman, Juan Cisneros, Maximiliano Ferro, Ryan Whittier Hale, MaryKate Maher, and Zach Nader.
In our contemporary visual landscape we have reached the terminal velocity of our sensory world, or so it feels. In her essay, Steyerl guides us through the transition away from of the objectivist “scientific” claim of universal linear perspective into the spaces of vertically constructed video games, google maps aerial views, the individualized viewpoint of instagram, and the re-appropriated, stolen perspectives of facebook and twitter. As the ground slips away, we are falling comfortably through space in a blur of images and vistas; where we no longer need vision enhancements but vision surrogates; where the systems that we have created to mediate us to our environments now supplant the environments altogether.
To this end, the works within In Free Fall alert our visual attention to this sense of groundlessness. Some works negate the presence of physical ground, some exist through a deleted element, not revealing the context of their creation, and others are the product of a process of reverse engineering, highlighting the disparity between global versus personal knowledge.
We fall as these works guide us through different versions of landscapes with vastly empty, encoded or re-engineered panoramas. The laws of representation are suspended, leaving us to search for new modes of visual stability.
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...all different: for I do, I suppose, partake of multitude
Kevin Beasley
Curated by Cleopatra’s
June 14 – 30, 2013 Performance: June 22, 7:30pm
When one strikes a bell there are several tones that prevail, yet the hum tone is one that lies an octave below the strike tone, the resonance being that of multiple tones within one note/or tone of an instrument. A layering that happens at the time of the actual singular act where a multitude is always produced. So what happens when “we” recognize the initial parts as a multitude and seek to expand that multitude exponentially?
...all different: for I do, I suppose, partake of multitude is an exhibition by Kevin Beasley, comprised of two parts: a site specific installation made from 30 varying wind chimes and a performance building live feed from the installation and pre-recorded sound bites.
Kevin Beasley (b. 1985, Lynchburg, VA) received his BFA from the College for Creative Studies, Detroit and his MFA in Sculpture from Yale University in 2012. He has exhibited nationally with The Butcher's Daughter, Detroit and in group shows in Los Angeles, throughout Michigan, and New York. Beasley’s performances were featured during Some Sweet Day at the Museum of Modern Art, New York and Danspace Projects, New York. Beasley’s work was also featured in Fore at the Studio Museum in Harlem.
