Publications: Ort (Bücher & Hefte); I Still See Communism Everywhere (Slavs and Tatars); Temporary Storages (The Book Society); A Book About Some People And Time (Myung Feyen); Four Over One (LACMA); Footnote to a Project* (Abraaj Capital Art Prize)
Phil Chang — Studio, Affect
7 July – 11 August 2012
Opening reception: Saturday, 7 July 2012, 7-9pm
933 Chung King Rd.
Los Angeles, CA 90012
As his third and final project that examines the various implications of affect, Phil Chang includes works in Studio, Affect that obliquely address the role of the studio in contemporary culture. Studio, Affect includes various depictions of artist’s studios — photographs of book pages depicting Francis Bacon’s disheveled space, Giacometti in his studio studying his wife, Richter sitting on an office chair — alongside images from catalogs that rely on tropes of the studio. Also included are images Chang has produced which depict his own production. These include photographs of laser prints that have served as studies, and the running sheets (offset prints) from the production of his artist book from 2010. In total, Studio, Affect relies on an array of images presented in an array of formats — chromogenic prints, silver gelatin prints, laser prints, pigment prints, stencil prints, and offset prints — that are hinged within frames. This decision has to do with a desire for “looseness” in presentation that formally and structurally addresses the political and economic implications of the studio.
Jonathan Maghen, No More Reality (the poster)
Silkscreen poster/print, 1/0, 19 x 35 inches
Printed on archival Kromekote ultra high-gloss 14 pt cover stock
Edition of 25 + 2 proofs, unnumbered
Published by Textfield
$25.00 · add to cart
The bookshop and exhibition (and poster) title have been appropriated from the Philippe Parreno work, No More Reality (the demonstration), 1991, which is a four-minute video of children demonstrating, and chanting the slogan and title (“No More Reality”). The poster, illustrated by Darius Maghen, is based on a sign held by one of the children in the original Parreno work.
Anna Sew Hoy
Temporary bookshop and exhibition
July 21 — August 25, 2011
Reception: Thursday, July 21, 6-8pm
Organized by Textfield, Inc.
205 Mulberry St.
New York, NY 10012
In conjunction with the bookshop, which will feature current and archived titles from Textfield Distribution, there will be an exhibition of work by artists that Jonathan Maghen has collaborated with through Textfield to realize various publishing projects. The exhibition will feature the works of Phil Chang, Arthur Ou, Eduardo Sarabia, and Anna Sew Hoy.
The bookshop and exhibition title have been appropriated from the Philippe Parreno work, No More Reality (the demonstration), 1991, which is a four-minute video of children demonstrating, and chanting the slogan and title (“No More Reality”).
Phil Chang, Four Over One
Hardcover, 64 pp., offset 4/1, 240 x 320 mm
Edition of 500
Published by LACMA
$39.00 · add to cart
Jonathan Maghen, Waste Bookmark
Bookmark, offset 1/0, 2 x 5.5 inches
Edition of 11 + 2 proofs, unnumbered
Published by Textfield
$2.00 · add to cart
Reception: Thursday, September 17th, 6:30-8:30pm
542 S Alameda St
Los Angeles CA 90013
Tuesday through Saturday, 10am-5pm
The Awful Parenthesis is a group exhibition of works by six Los Angeles-based artists. Formed in response to a proposition initiated by Cirrus Gallery, it presents a selection of emerging artists without prior relationship to the space or its history.
curated by Aram Moshayedi
The exhibition is organized around a concept of spatial and temporal dislocation developed by Thomas De Quincey in 1823, wherein a disruptive knock at the gate in Shakespeare’s Macbeth is described as “the re-establishment of the goings-on of the world in which we live.” It is in this moment, De Quincey writes, that we are made profoundly aware of “the awful parenthesis” that had rendered the scene “cut off by an immeasurable gulf from the ordinary tide and succession of human affairs.” Brian O’Doherty later used this oft-cited passage as the starting point of his important essay “Context as Content,” published in the pages of Artforum in 1976. For O’Doherty, the activities that take place within the institutional frame of the gallery space undergo a suspension in time and space not unlike the stasis allegorized by De Quincey in the preceding century.
The artworks in The Awful Parenthesis engage with conditions of materiality and conceptual bracketing and attempt to redefine the relationships between a visual medium’s history and its institutional contexts of display. The approaches represented here investigate the material qualities of images and objects as they relate to architectural and historical specificity; they reveal both inward and outward tendencies toward formal and discursive devices of framing. Each artist’s contribution to the exhibition exists within and outside the suspended spaces of viewing, separately renegotiating how space is delineated within both the picture frame and the context in which pictures, as objects, are looked upon.