BIO
Where is a semi-public, high security security shipping container and publishing project in Brooklyn, New York. 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 and the on-demand print publication. Experimental exhibitions are accessible 24/7 via live-stream feed online.
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EVENT

Opening: "Where 2" curated by A.E. Benenson


Dates:
Sat Dec 14, 2013 19:00 - Sat Dec 14, 2013

Location:
Brooklyn, New York
United States of America

“Where 2” is the current state of 20 years of ongoing research. The first findings were developed in the early ’90s on a copy of SimCity for Super Nintendo located in my father’s spare bedroom. I only had access to the game every other weekend, and so before leaving I would raise taxes to 99%, select the maximum gameplay speed (a Cheetah icon), and then turn the television off while leaving the game’s persistent simulation running.

There was no predicting the state of my city when I returned twelve days later (approximately 1000 years in-game), though the bank was inevitably full and so usually the most prudent course of action was to destroy the whole city and fill the map with the two most expensive buildings, the Airport and the Football Stadium.

Research continued in my teens when my brother and I operated a small server for pirated games and media. Relevant experiments included spending a week downloading a handycam bootleg of The Blair Witch Project (1999) which had been divided into forty parts, and hosting a low-res copy of the infamous Tyson v. Holyfield “Bite Fight” (1997) the morning after it had been broadcast live on television.

Presently, my research has taken the form of a digital system for reproducing Douglas Gordon’s super-durational appropriation work 24 Hour Psycho (1993). The system consists of a pirated copy of Hitchcock’s film Psycho (1960), screened in the gallery once daily at dusk. Each screening is captured by the Where webcam, processed by custom software, and streamed to the gallery’s website at Gordon’s prescribed rate of two frames per second. The slowed down, 24/7 stream is viewable on the gallery’s website. Visitors to the gallery are encouraged to use their mobile web browsers to watch both versions at the same time.

The opening reception will also launch an accompanying catalog including essays by David Phelps and myself, a conversation between the directors of Where and David Joselit, and various forms of documentation.

— A.E. Benenson

Where can be viewed and contacted at
www.1397MyrtleAvenueUnit4BrooklynNY11237.com


EVENT

Where 1


Dates:
Fri Oct 25, 2013 19:00 - Sun Nov 24, 2013

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.