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Option to the Death of Freedom: Casemore Kirkeby opens group exhibition
Frank Heath, Backup Plaque (Letter From Future Self), 2014. Laser-etched brass, postage, 8.5 x 11 inches, unique.

SAN FRANCISCO, CA.- The contemporary role of option provides an illusion to allay a sense of entrapment in our daily structure quieting a never-ending loop of collapsed feedback by promise of change reliant on option. In regards to this illusionary state (that one is free to decide upon change when presented with what is assumed as an option but is essentially a corroded strategy for sameness), is the idea that one accepts what is offered or receives more of the same resulting in no option at all. The construct of option accelerates the fallacy of a personal elect in a daily ultimatum game as it pertains to our current social climate.

The invisible arena of option is an event in and of itself requiring a provocation of its pre-programmed cultural aim to expose its true boundary. In a time where traditional protest methodology proves outmoded in ability and information networks reflect strategy over dialogue, the options provided to individuals seeking change arrive pre-coded circumventing active alterations, blind of intention – a continual Hobson’s choice. Contemporary option as we know it, when assumed as a freedom-based exercise in individual power, is largely impotent as an act of defiance against the system it develops within. Yet freedom, reliant on option and the allowance it seeks in suggestion of actual self-governing, is heralded as our greatest asset. Given our options, the clock rewinds and the positions shift within the same structure.

Realizing the potential of each work individually or taken as a whole, Option to the Death of Freedom attempts to allow a continual inquiry beyond the half-life of contemporary option, a mediation presented as crossing many complex and current social issues. Contributing artists exhibit practices that allow for transparency and literalism while at times allowing materialism a central charge. As an appeal against the false nature of option in the wake of considered societal, economic, and cultural freedoms, the exhibition allows expression of protest and in some cases visual confrontation towards the lack of true clarity.

Andrew Tosiello presents a revised value of authorship through an algorithmic lottery in WHATSANAUTHOR,THEDEATHOFTHEAUTHOR,PIERREMENARD,AUTHOROFTHEQUIXOTE (2016). The seminal texts by Foucault (1969), Barthes (1967) and Jorge Luis Borges (1939) are reassembled in python code and presented in an algorithmic order rendering the concentrations meaningless.

Mads Lynnerup exposes realities of the economically disenfranchised and marginalised through a selection of his 2007-09 silkscreen posters, Build More Luxury Condoms, Now Firing, and If You See Anything Interesting Let Someone Know Immediately, the former being a slogan derived from the anti-terrorist posters produced for the M.T.A. during the post-9/11 climate (If you see something, say something), working as a preemptive approach to acts of the “un-American.”

John Edmonds ‘Hoods’ (2016-17) presents cultural identification through photographic representation, herein specifically blackness and maleness. Through his photographs Edmonds confirms the paradox of a simultaneous hypervisibility and invisibility witnessed through highly racialized visual markers, and evidenced through a continued culture of violence based on the “other”. Using elements of controlled imagery (a faceless hooded portrait), Edmonds reproduces the conditions of a visual artificial boundary as demonstrative of the racially-driven structures that attempt to equally dominate and diminish the experience of blackness through the process of racialization.

Evidence (1977) by Larry Sultan and Mike Mandel is considered a seminal foundation in conceptual practice based in photographic mediums that attempt to decentralize narrative and authorship. In this way Sultan and Mandel present the issue of ownership- visual or causal, to examine American corporations, institutions and agencies tasked with the technological advancement of American future, while presenting a stationless visual sequence for consideration.

Frank Heath addresses the tension between the human and the mechanical, the successes and grave failures of communication and its breakdown. In Made to be Found (2014), two filmmakers seek props and direction in the aisles of a department store, the words of CERN physicists overseeing the Large Hadron Collider echoing in their heads. Made to be Found considers the relationship between the technologies pushing us toward collapse and the apocalyptic scenarios we incessantly invent.

Whitney Claflin’s site specific installation ‘Forget Marriage’ is created directly on the wall through lighter burns.

Dan Herschlein’s practice revolves around the amateur and exploratory pursuit of psyche through the horror genre. Inner turmoil and the weight of expectation as it pertains to the reaction and morphing of the body ultimately confronts one’s emotional limit. This nihilistic sort of romanticism and its aftermath of physical detritus becomes symbols of the inevitable failure of transcendence, and what it means to be human.

William Koone explores how contemporary visual rhetoric is constructed by bringing into focus the physical support systems that facilitate it. Koone utilizes photographic tropes, such as commercial backdrops, to illuminate the production and fabrication of images. Utilizing a variety of media, Koone’s objects describe our contemporary culture, where the commercial image is ubiquitous. All capital generated by the sale of Koone’s work is fully directed into The Stipend, a Bay Area-based grant initiative co-founded by Koone, financially assisting artists to realize exhibitions locally.

Nicolás Lamas attempts to render various historical inconsistencies generated by representation. Damnatio memoriae (2013) takes its approach from the modern Latin phrase literally meaning “condemnation of memory”.

Today's News

November 5, 2017

Rafael Soriano opens at Frost Art Museum FIU: Kicks off Miami's Art Basel season

Harvard Art Museums to receive transformative gift of Dutch, Flemish, and Netherlandish drawings

Galerie Templon reveals a previously unseen series of paintings by Jim Dine

The largest collection of Viking artifacts on display in North America comes to the Royal Ontario Museum

Matthew Marks opens exhibition featuring thirteen recent paintings by Gary Hume

First major exhibition of Korean fashion in U.S. opens in San Francisco

Gavin Brown's enterprise opens 5th solo exhibition by the painter Alex Katz

Museum-wide exhibition examines practice and role of drawing in late Edo - early Meiji Japan

Exhibition of new drawings by Paul Noble opens at Gagosian San Francisco

Exhibition draws together sixteen paintings created by Elizabeth Murray in the 1980s

Survey exhibition tracing the developments of post-war British sculpture from 1951-1991 on view in London

Milestone's auction features finest comic character toy collection to reach the marketplace in many years

First comprehensive retrospective of Mark Tobey's work in 20 years opens at the Addison Gallery

Exhibition at the Saint Louis Art Museum highlights a major new body of work by Thomas Struth

Landmark Hassan Sharif retrospective presented by Sharjah Art Foundation

Live online sale offers paintings, works on paper, photographs & sculpture from the 18th to 21st centuries

"The Time. The Place" focuses on acquisitions to the Henry's contemporary collection

Exhibition presents sculptural work spanning three decades by Swiss-born artist Françoise Grossen

New site-specific installation by Canadian artist Megan Rooney on view at Tramway

Perrotin New York opens an exhibition of works by Farhad Moshiri

Luhring Augustine exhibits a multi-part video and sculptural installation by Mike Kelley

Bouke de Vries puts the finishing touches to his epic, 8-metre ceramic sculpture 'War and Pieces'

Honor Fraser's first exhibition of paintings by pioneer Feminist artist Miriam Schapiro opens in Los Angeles

Option to the Death of Freedom: Casemore Kirkeby opens group exhibition

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