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Where 1

  • Location:
    Where, 1397 Myrtle Avenue, Unit 4, Brooklyn, New York, 11237

Where 1
Saturday, October 26 - Sunday, November 24, 2013
Opening reception: Friday, October 25, 7:00-10:00pm
Live stream: www.1397MyrtleAvenueUnit4BrooklynNY11237.com

Where is pleased to celebrate its grand opening with “Where 1,” the inaugural exhibition of this semi-public, high-security shipping container and publishing project in Brooklyn, NY. “Where 1” features sculpture by Lea Cetera, Jesse Greenberg, and Alexandra Lerman, with a video trailer by Theodore Sefcik. The related publication contains essays by Brian Arthur and Carlos Castellanos, and will be released at the opening reception. The exhibition can be viewed 24/7 online via live-stream for the duration of the show.

Where is grounded in the assertion that art and its discourse manifest the patterns, behaviors, and properties present in all complex informational systems, and that the mechanisms producing change and growth in these systems can be applied directly to the field of artistic production vis-à-vis the exhibition format.

“Where 1” tests the particular feature of complex systems that coalescences autonomous, unrelated agents, stripping some of their independent qualities but resulting in the emergence of a new, more complex form with new affordances. “Where 1” stages this experiment through an exhibition that combines the discrete works of three independent sculptors, held together by gravity and sculptural syntax as a single quasi-object.

Greenberg’s rich and colorful practice explores non-representation through expertly cast resin and plastic forms. His work Growth Brick (Black) hangs in precarious balance with unfired clay tablets from Lerman’s Release series. Lerman’s works are rooted in a conceptual discourse on legibility, gesture, authorship, and the proprietary touch-screen swipe movements the iPhone. The disparate pieces of Greenberg and Lerman are forced into equivalence by a balance beam, the central element of “Onyx” from Lea Cetera’s Relationships series. Here the casual, delicate architecture of formica, ocean stones, styrofoam, acrylic, and steel point fun at the legacy of minimal sculpture and the notion of stable forms. “Onyx” performs the action of a cosmological equals sign that holds together this sculptural organism, and in fact the entire exhibition.

“Where 2,” curated by A.E. Benenson, is scheduled for early December and will question the infinite regress and holographic limit afforded by recursive appropriation of historical artworks.