Time and Material at M+B

Is there a show in the back?

Why, yes!

Is Alexandra here?

Pardon me?

Alexandra – is she here today?

Oh – she is in Paris preparing for (… misunderstood art fair name) they all are there.

Aah, that explains you being all alone, it’s usually very crowded here.

The curator wouldn’t allow so much as a table to be present in the gallery space, so you’ll find a check list and statement on the stair.

Who curated the show?

Matt Moravec – he’s 24, a young curator–


–who lives in New York. He curates exhibitions in his apartment. And Sam Falls.

May I go back?

I wonder whether that leaf is part of the show. Better not touch in case. It looks nice on the floor. Kind of goes with.

What a spare show.

Damn. I forgot my notebook. MB usually prints extra copies of the check list, I’ll lift one.

Waves. Rolling. Crashing. A beach. Sand in bags. Small iridescent tables. A drawing. Or a folding…

He’s cutting the cake and re-placing the slices.

Viewing the setting sun through the green fabric the weave looks moiré-ish, but it doesn’t show that way. It’s remarkably, intensely flat in tone affect. Huh, hand-dyed green cotton. I wonder why? The hand-dyed part. Is it important to one’s experience of the piece? The green is like the green of pool tables, only with less light. The fabric kind of resists reflections in fact. Nice the way it fades into a darkened back office and leads my eyes through an open door then to a second open door. A third one, if you count the black doorway deep in the back.

I wonder if the sand and jute pieces would stand without the rest of it? Hmm. I wonder if the curatorial presence is… well, strong for the work? On the other hand I am appreciating Kassay’s cheek. These sand bags are so slight they approach poetry. Haiku, even.

jute bag
an electrical outlet
waves crash
the day

Reminds me of the show Kassay did at L&M. He offered a cunningly quiet and sweet counterpoint to Paul McCarthy’s Emperor-style treatment of Bush fucking with pigs. Really, both artists have used that great space to the full.

So perhaps Untitled (sand and jute, dimensions variable) do succeed on their own.

The wave sound is constant. Until it stops briefly. 5:27 pm my time, a voice says, “At this time, ten pm, four twenty-four, it is high tide.” I am of course guessing, the voice went by so quickly. at 5:30 their was a gap, then waves crashing again interspersed with coughing, sniffing, shovel or car door sounds. Perhaps the artist getting out of his car to begin taping?

The sand in Jacob Kassay’s bags nicely quotes the wave sounds in Joe Zorrilla’s sound piece. Wave sounds. Wave patterns. Hmm, I wonder if this is an in-joke among sound works? Ocean waves and sound waves…

The drawing, or the not drawing. Folded paper and indigo, it may be a record of time. The title is October II (New York, Mexico, Joshua Tree), 2011. I wonder at the evenness of this list – a city, a country and a national park. This might be (unconsciously stated) a New Yorker’s view of the world. Relative degrees of importance. I get a sense, as I do with most of this work, that information is needed for a full appreciation. Maybe not, these folds are intricate enough to keep me looking and the paper has a nice texture, like it has been kept in a pocket. Considering the color, a blue jeans pocket – I’d guess the rear one since all the folds are straight, not crumpled.

As it happens, the green curtain begins outside as a carpet, one enters the space riding on it like those magic rugs in The Thousand Nights. Oh! A sandy desert. Um, I hesitate to push too far a manufactured metaphor, but Kyle Thurman’s tables do have oil slick enamel surfaces – they beguile the eye as the tales of Scheherazade once beguiled her prince. And as oil does enchant all our current princes, using prince in the Machiavellian way.

Aha! Zorrilla’s cake is the exception that proves my oil and the sands of Araby rule! Or proves nothing of the sort, depending on your preferences. It’s pretty cool watching him go at the cake: Zorrilla’s hands slice, remove, and replace; the cake re-forms – allowing the artist’s hand holding his cake slice phallus entry into its sweet, tasty, frosted vagina. And then some dogs begin to bark as the cake crumbles on the plate.

Time and Material, curated by Sam Falls and Matt Moravec at M+B in West Hollywood. Work by N. Dash, Sam Falls, Jacob Kassay, Kyle Thurman, Joe Zorrilla.

Oh! Images of the show! M+B are a photo gallery, they have fabulous pictures for you.

Go here: http://www.mbart.com/exhibitions/_83/_img/

Submit a Comment

Your email address will not be published. Required fields are marked *