Author Archives: Marcela Huerta

Seen as It Was Conceived: Or Gallery’s “The Unspeakable Compromise of the Portable Work”

by Sean Michael Nelson

The blog for Or Gallery’s current off-site exhibition The Unspeakable Compromise of the Portable Work features a post by artist Igor Santizo, wherein a black spot is placed over top of several images. This transposition onto a space radically alters how it is perceived. As I Enter office 202 at 3540 West 41st, the space of the exhibition, I receive a similar impression.

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Didn’t Mean That

In his forward to the book counterpart of Jeremy Shaw’s DMT video installation, Clint Burnham notes that in the aftermath of Gulf War II, sentiments can quickly give way to nostalgia. In fiction of this era—Jonathan Safran Foer’s Extremely Loud & Incredibly Close, for example—characters default to nostalgia in a post-traumatic universe. The novel’s protagonist collects images, frequently of events that predate his own birth. In DMT, the work’s volunteers, 20- and 30-something acquaintances of Shaw’s who agreed to be filmed while tripping on the eponymous hallucinogenic drug, partake in a sort of “drug-stalgia,” or, as Burnham puts it (referencing a song by Shaw), they try to “get high like we used to.”

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Circle: Peter Morin’s Museum Final Performance (Part Two)

by Sean Michael Nelson

“It’s time.” Tonight, as per the Museum Manifesto’s first declaration (“I invite you to participate in this new museum”), Peter invites everyone to participate in the practice of indigenous knowledge. His tone, much like the manifesto’s, is both light and serious. “We’re going to do something different— but it’s performance art—it’s all different.” Academics may describe indigenous knowledge as being relational, he explains, but what Peter’s grandmas say is that “You gotta have tea with me… What does that mean? Just you wait and see.”

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Circle: Peter Morin’s Museum Final Performance (Part One)

by Sean Michael Nelson

At 6:39 PM Peter Morin calls a meeting to explain the purpose of the night’s performance. “Tonight is an interesting experiment,” we’re told; “Peter Morin’s Museum’s first performance was about history. The second one was about how the Tahltan people organize stories and knowledge. Tonight’s performance will be about knowledge-in-action…”

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Not Photographs: Opening Reception

Last night, after a long week of take down and set up, we finally had the pleasure of seeing Andrea Pinheiro & Damian Moppett’s works for the opening reception of Not Photographs. We’ll be taking an in-depth look at the show next week, with a review by one of our contributors and interviews with the artists.

For now, here are some photographs from last night’s exciting opening reception.

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