"Dynaton: Convocation of Radiant Beings" Curated by Laura Whitcomb in collaboration with Lucid Art Foundation @ Chateau Shatto

WOLFGANG PAALEN

Les Cosmogones, 1944

Oil on canvas

96 x 93 in / 243.8 x 236.2 cm

LEE MULLICAN

Untitled, c. 1950s

Acrylic on wood and twine

52 x 27 x 2 in / 132.08 x 68.58 x 5.08 cm

LEE MULLICAN

Tide of the Mud Sun, 1950

Oil on Canvas

32 x 72 in / 81 x 182 cm

WOLFGANG PAALEN

Messenger from the Three Poles, 1949

Oil on canvas

90 x 81 in / 228 x 205 cm

LUCHITA HURTADO

Untitled, 1950

Wax crayon, ink, crayon and watercolor on board

16 x 24 in / 40.6 x 61 cm

WOLFGANG PAALEN

Face, 1935

Marble

Overall: 20 x 15.5 x 9.25 in / 50 x 39 x 23 cm

HARRY PARTCH

Kithra I, 1938-43

Musical instrument

76 x 46 x 16 in / 193 x 116.8 x 40.6 cm

WOLFGANG PAALEN

Deux Tetes II, 1935

Oil and tempera on canvas

37.75 x 50.6 in / 95.9 x 128.5 cm

Framed: 40 x 53 in / 101.6 x 134.6 cm

WOLFGANG PAALEN

Paysage Boreal (Antarctic Landscape), 1934

Oil and tempera on canvas

36 x 28.25 in / 91.4 x 71.8 cm

Framed: 39 x 31.5 in / / 99 x 80 cm

Leonora Carrington

Luchita Hurtado

Roberto Matta

Lee Mullican

Gordon Onslow Ford

Wolfgang Paalen

Harry Partch

Alice Rahon

Jeanne Reynal

Dynaton: Convocation of Radiant Beings

Curated by Laura Whitcomb in collaboration with Lucid Art Foundation

Jean Baudrillard's photography: Ultimate Paradox @ Chateau Shatto

Brugges, 1997

Giclée print on pure cotton paper

60 x 90 cm

Las Vegas, 1996

Giclée print on pure cotton paper

60 x 90 cm

Sainte Beuve, 1987

Giclée print on pure cotton paper

90 x 60 cm

Amsterdam, 1992

Giclée print on pure cotton paper

60 x 90 cm

Somehow it seemed appropriate, perhaps even fitting, to take photos of photos as I often do, but  without complaint this time for any one of the reflections that I typically find distracting such as lighting, other architectural features, me as photgrapher, etc... Also because they are pictures of place and somehow the inclusion of my reflection populates the image in a second order place, a hyper place, the gallery in this instance, it somehow in my mind alludes to Baurdiallard's interest in photography, banal art. Whatever the case, it was interesting to consider the images in relationship to someone who is known more for his words than his actions, here understood as photographs. Granted, as the cliche would have it, a picture is worth a thousand words. However, I'm not sure these measure up on that account. What they add up to, I'm not quite sure. Whatever the case, I snapped a few that caught my eye.

Kelly Akashi and Sean Raspet @ Chateau Shatto

If transparency is more a function of phenomena, then ineffectual candles and 4mm plastic as wall (glass?) remind us that this is more metaphor than actual concern. That structure is revealed is straightforward enough. What it adds up to is quite another. Valves (permanently closed off) attenuate key points of the framework.

 Chandeliers and fallen wax on fallen pillows, soft landings for extinguished dreams (past/present/future locations of deep thought). One in which the spatial contingencies integrate and combine rather than simply adorn or become extraneous distraction. 

Bees. 

Suspense. 

Continuity. 

Filtration. Air. Olfactory. Curve to straight. Back to front. Coil. Single redirect. Duct. Reflexive, recycled (Modernist). Reflective. 

The relation between in/out is like the twisting/turning of a knob, activated by a willing participant not unlike an act of a god setting wheels in motion. Smell and memory. Head and tail. Ourobouros. Smithson polyp. A slight return.