- Blue Print: Gallery Structure (0). Installed: Reisig and Taylor Contemporary. May 6 - May 12, 2023.

Blue Print (Installation Recordings).

Isaac Newton

Diagram associated with the Law of Universal Gravitation.

This diagram illustrates his “Cannon Ball Thought Experiment” where the variable velocity-dependent trajectory of a stone projectile along the curvature of the Earth was initially used to hypothesize the universal force of gravity and its relation to planetary motion.

From: A Treatise of the System of the World (London: for F. Fayram, 1728).

À Cage To Grow-Up In. Morning\ Outside. Tomato cages, chalk.

À Cage To Grow-Up In. Noon\ Outside. Detail.

À Cage To Grow-Up In. Afternoon\ Outside.

Blue Print. Gallery Structure (0). objet A.D. May 6 - May 12, 2023. Reisig and Taylor Contemporary (Los Angeles: 2680 S La Cienega Boulevard). Gallery Structure. Day\ Lighting 0 (Natural).

And it was always drainage for angels. Day\ Lighting 1 (Cool). Galvanized Wash Tub, PVC Tubing, Blue Chalk, Brass mount, Unfired Cast Clay Angel (eroded with water), unfired red-earth clay.

Isaac Newton. Diagram associated with the Law of Universal Gravitation. From: A Treatise of the System of the World (London: for F. Fayram, 1728). Print and Transfer onto Wall.

And it was always drainage for angels. Day\ Lighting 0 (Natural). Detail.

Spoon and Fork--or, CCCounting and the Mouth. Day\ Lighting 0 (Natural). Etched bronze, patina, charcoal, pigment.

Spoon and Fork--or, CCCounting and the Mouth. Night\ Lighting 1 (Cool).

Spoon and Fork--or, CCCounting and the Mouth. Night\ Lighting 2 (Warm).

Spoon and Fork--or, CCCounting and the Mouth. Day\ Lighting 1 (Cool).

Gravity--or, The Absence of Closed Curves in Marionette Theatre. Night\ Lighting 1 (Cool). Isaac Newton. Diagram associated with the Law of Universal Gravitation. From: A Treatise of the System of the World (London: for F. Fayram, 1728). Print and Transfer onto Wall.

{Left} A Writing Lesson 1. {Right} A Writing Lesson 0. For Claude Lévi-Strauss. Night\ Lighting 1 (Cool). Cast Plaster and Cannabis-derived Sumi Ink with Relief.

A Writing Lesson 1. Before. Night\ Lighting 1 (Cool). Cast Plaster and Cannabis-derived Sumi Ink with Relief.

A Writing Lesson 1. After. Night\ Lighting 1 (Cool).

A Writing Lesson 0. Night\ Lighting 1 (Cool). Detail. Cast Plaster and Cannabis-derived Sumi Ink with Relief.

{Left} A Writing Lesson 1. After. {Right} A Writing Lesson 0. Day\ Lighting 0 (Natural).

A Writing Lesson 1. After. Day\ Lighting 0 (Natural).

A Writing Lesson 1. After. Day\ Lighting 0 (Natural). Detail.

A Writing Lesson 0. Day\ Lighting 0 (Natural).

A Writing Lesson 0. Day\ Lighting 0 (Natural). Detail.

{Left} A Writing Lesson 1. After. {Right} A Writing Lesson 0. Evening\ Lighting 2 (Warm).

Stoned Sips from a Bow(e)l. Day\ Lighting 0 (Natural). Cast Plaster Slab carved in relief, drawn-on with charcoal, stained with Hash Oil; Hammered Bronze Bowl filled with cannabis derived Sumi ink and a cast cement statuette head of a maenad with calcium efflorescence and rusty mounting hook. [The sound heard throughout the gallery-room is a recording of a stone (found next to opiate-injection paraphernalia the LA river) grinding against the edge of this bowl. The porous cement piece slowly drinks or "sips" the ink from the bowl, becoming more and more stained as the ink moves upward.]

Stoned Sips from a Bow(e)l. Day\ Lighting 0 (Natural).

Stoned Sips from a Bow(e)l. Day\ Lighting 0 (Natural). Detail.

Stoned Sips from a Bow(e)l. Day\ Lighting 2 (Warm).

Stoned Sips from a Bow(e)l. Day\ Lighting 2 (Warm). Detail.

Stoned Sips from a Bow(e)l. Evening\ Lighting 2 (Warm). Detail.

Daytime: Graph 0 (The Tonic and The Clonic): Aura [Symptom 0]. Projection and Sound. 46 second segment of a looping video and sound sequence. [This works constructs the aura, or the initial onset of symptoms, associated with Z’s lateral temporal lobe epilepsy. A mirror image of how these symptoms are experienced by the subject (Z), the aura is constructed as a split object/vision/sound/interval in view of the Other (E, or whoever encounters this instance). (In the Daytime construction, as shown in this image, the Aura or symptom is barely visible to others despite its constant flickering. Instead, what's visible is a the weed's erratic trajectory of "growth" against the blue-chalk array. The combination of the growth-line and the static chalk graph builds an attempt to locate the underlying, barely visible symptom with alterior techniques of vision employed in sciences.) This work is installed as part of Blue Print in order to mark, track, or record a symptomatic structure of the curator-subject’s disoriented position within the structure produced. To the extent that a curator-subject introduces a disorder at the same time as constructing an order, the positioning of this work within Blue Print openly displays this bodily, unconscious—or at least unavoidable—contact with a subject’s non-orientability within their own system as a necessary interference that occurs during the “night” of the work.]

Nighttime: Aura [Symptom 0]. Projection and Sound. 46 second segment of a looping video and sound sequence. [This works constructs the aura, or the initial onset of symptoms, associated with Z’s lateral temporal lobe epilepsy. A mirror image of how these symptoms are experienced by the subject (Z), the aura is constructed as a split object/vision/sound/interval in view of the Other (E, or whoever encounters this instance). This work is installed as part of Blue Print in order to mark, track, or record a symptomatic structure of the curator-subject’s disoriented position within the structure produced. To the extent that a curator-subject introduces a disorder at the same time as constructing an order, the positioning of this work within Blue Print openly displays this bodily, unconscious—or at least unavoidable—contact with a subject’s non-orientability within their own system as a necessary interference that occurs during the “night” of the work.]

Blue Print: Gallery Structure (0). Day\ Lighting 1 (Cool). Blue Chalk on wall (presenting a 'blueprint' of the exhibition installed in the gallery, with a homotopic transformation of the gallery-structure into a bilateral möbius figure). Information plaque contains details on the painting installed on this wall of the gallery in the preceding exhibition "I write on walls to talk to you (The Shape of the Throat Croaks)": Sinclair Vicisitud, Papa (2023). [Think: phallogocentrism with a yonic transformation.]

Pen(ny)ance (33, 59)--or the Burden of Guilt and the Cost of Salvation. Evening\ Lighting 1 (Cool). Unfired Clay, Hemp Twine (with 33 knots referring to the Christian prayer rope with 33 knots for each year of Christ's life), Leather Rosary Pouch (filled with 59 grams of antique coins substituting for the 59 beads on a Catholic Rosary), brass hook.

Pen(ny)ance (33, 59)—or the Burden of Guilt and the Cost of Salvation. Evening\ Lighting 2 (Warm).

Pen(ny)ance (33, 59)—or the Burden of Guilt and the Cost of Salvation. Day\ Lighting 2 (Warm). Detail.

Pen(ny)ance (33, 59)—or the Burden of Guilt and the Cost of Salvation. Day\ Lighting 0 (Natural). Detail.

Pen(ny)ance (33, 59)—or the Burden of Guilt and the Cost of Salvation. Day\ Lighting 1 (Cool). Detail.

An-Aesthetic Education--or, Letters on the Aesthetic Education of Man. Night\ Lighting 2 (Warm). Found White board from a high school with transformation of graph-presentation of gallery-structure, Ruger Optical Gun Scope for AR-556 (a semiautomatic AR-15 style rifle manufactured by U.S. firearms company Sturm, Ruger & Co. This weapon and its near-variants (including AR-10) have been used in several shootings throughout the United States.)

An-Aesthetic Education--or, Letters on the Aesthetic Education of Man. Night\ Lighting 2 (Warm). Night\ Lighting 2 (Warm).

Cleft Pallete. Evening/ Lighting 2 (Warm). Cast Iron sculpture, unfired porcelain clay, cinder blocks, blue chalk, Clarice Lispector's , wood pallets.

Cleft Pallete. Evening/ Lighting 2 (Warm).

Cleft Pallete. Evening/ Lighting 1 (Cool).

Sign and Trace. Charcoal, white interior house paint. Evening\ Lighting 2 (Warm).

Nice Jug. Night\ Lighting 1 (Cool). (Partial) plaster cast of milk jug.

Avunculate ("Say Uncle"). Night\ Lighting 1 (Cool). See Claude Lévi-Strauss, "Avuncular Privilege."

Avuncular Privilege and the Fall of the Patriarch. 2023.

Wheel, Chair. Cast Iron sculpture, unfired porcelain clay, dolly, wood chair. Afternoon\ Outside.

Blue Print is the first installation in a series of “Gallery Structures” constructed by the gallery and its workers. The exhibit(ion), Gallery Structure (0), is open for one week: May 6 - May 12, 2023.

The series of Gallery Structures is a critical and formal curatorial engagement with the structure of the gallery. The series situates a literal (material) encounter with the space of the gallery as a work (of art) in itself. Habitually, the gallery is often regarded as a non-conscious or passive space where art is propped-up or placed; however, the materials, motifs, and histories of the gallery-space are always already structuring the possibilities of encountering an artwork (and pre-configuring the perspectives of observation). This series shows the ways in which the gallery circularly writes itself (writing). This is an effort to build a gallery and curated program that is capable of viewing itself… of giving an account of itself.

As the initial inquiry into the questions of the agency of the gallery-space, Blue Print is the gallery’s way of putting the (invisible or otherwise understated) act of the gallery (back) into the spaces, times, and systems at work in the physical housing and location of Reisig and Taylor Contemporary at 2680 South La Cienega Boulevard. Directly, “Blue Print” asks: What is the structure of the gallery? What is the structure of the curatorial act? And, how can these structures be deconstructed, exhibited, endured, shown, or demonstrated without repressing its underlying processes and components?

Responding to these basic questions of space, time, and exhibition, the structure forms a primordial [intrinsic, Möbius] “blueprint” of the gallery by working-through latent elements and perennial forms permeating the gallery’s structure, dreaming what the gallery conceals in the silence of its sleep. This is a work with the presences and absences of the gallery-space. And the hyper-accelerations and lags of its language at the limit of the un/conscious, over time.

Marking time in realtime, each work will change form (at different speeds) throughout the course of the exhibit.