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I received the following email about Jude Tallichet's upcoming show at Sara Meltzer and it's so brilliantly concise I present it intact:
Dear Friends,In the past Tallichet has done perfectly crafted models of historically resonant architecture--such as knee-high versions of the main Brasilia buildings painted jet black--with her own electronic music playing inside of them. For this show, the email above rather gets it across: Ezra Pound couldn't have done a better job of conjuring an art experience with a few well chosen words (on second thought, Donald Judd's straightforward descriptions are probably more on point). Linguists talk of "performatives," which, according to wikipedia are expressions such as 'I nominate John to be President', 'I sentence you to ten years imprisonment' or 'I promise to pay you back,' where the action the sentence describes is performed by the sentence itself. The paragraphs above almost transparently "perform" the art because you can see and hear it so clearly. Now to measure the show against the words.
January 20, a day that will live in infamy (2nd inauguration of youknowwho), also happens to be the opening date of my exhibition "Hiding in Plain Sight" at the Sara Meltzer Gallery. 516 West 20th Street, from 6-8pm. The show will run until February 19.
"Hiding in Plain Sight" will occupy Room 01, Room 02 and the Video Wall, and will feature four sculptures: a bear rug cast in aluminum, a bale of hay cast in bronze, a wagon wheel made of mirrors, and a campfire made of neon lights and plastic. I have also composed a sound track featuring the merged sounds of auctions and gregorian chants, and a video wall featuring "westerns" shot in Fort Lee, New Jersey during the early 20th century by Thomas Edison.
I hope you can see the show!
UPDATE, Jan. 20: Tallichet's art is carefully made and impressive to behold, so as well as you can visualize the above description, that's what the show looks like. We are somewhat in Koonsian scuba tank territory here, only with a theme of ersatz Americana perfectly timed for the swearing-in of an ersatz President. The essential fraud of westerns filmed in New Jersey combines with the PT Barnum curio in a series of deadpan surrealist audio, video, and sculptural works. Through the visual rhetoric of late Minimalism (in the exhibit's spare presentation and determined craftmanship), the art world is also implicated in this scheme of bogus experience. Excellent, thoughtful show.