26 May – 11 June 2017
Friday, March 31, 2017 from 6:00 – 8:00 pm
Saturday, April 1, 2017 from 2:00 – 5:00 pm
Guest Room will host DYSTOPIA/DEMATERIALIZATION with The Old Shed on Gary Road between W. Poplar & Oleander in Carrboro hosting HETEROTOPIA/MATERIALIZATION and Apartment Gallery at Apt 10G, 881 MLK Jr. Blvd. in Chapel Hill hosting UTOPIA/REMATERIALIZATION.
Part One: Dematerialization/Dystopia
Artists: Allison Coleman, Luke Firle, Lindsay Metivier, Joy Meyer, and Vanessa Murray
Part One of Materia explores the concept of Dematerialization to it’s Dystopian ends.
In this show we dematerialize the referents of our art practices. We have deconstructed our art practices to their alchemical and discrete natures. By reducing, separating, and isolating our materials and concepts from their origins we aim to create a sense of entropy in the space.
Metivier’s bowl of fruit was left in the sunlight and is transformed by the slow decay of time. Firle’s unfulfilled urge to save and hoard all of his wood shavings becomes the silent remnants of cedar, walnut, pecan, and pine.
Meyer’s clipped faux fur was previously a performative substrate. Here the scraps twist and curl in a gradual disorder. Beneath it, the lambskin becomes an absurdist pedestal. Coleman, a surrealist painter, offers an amassment of human hair as a nod to Oppenheimer’s tea cup and saucer as well as a reference to the bristles of a brush.
The surfaces of Murray’s paintings are emphasized through the accumulation of layers. The history of her process and decisions regarding color relationships have been scraped from her palette and the cavities of her paintings. The detritus remains become a precarious composition.
The presence of these artifacts in relationship to their representation as photographs creates another layer of disconnection as well as a sense of dislocation. This show intends to evoke a space of contemplative unease about the past and future.
>>Press for MATERIA
Opening Sunday, February 5, 2017
2:00 pm – 6:00 pm with a screening of the documentary film Eva Hesse at 5:00 pm.
Come see an installation of Carley Zarzeka’s elegant post-minimal work in Guest Room’s intimate setting during this Sunday afternoon open house. Zarzeka describes her work as an investigation of the conceptual intersection between space and memory. At 5:00 pm, we’ll screen the 2016 documentary Eva Hesse in the living room.
Zarzeka is an MFA candidate at The University of North Carolina at Chapel Hill and received her BA in studio art from Dickinson College. She is founder and director of The Open Perch Gallery in Carlisle, Pennsylviania.
#colouredpostcardshare with ohmzutt and gnushu
Opening Sunday, December 11, 2016
2:00 pm – 6:00 pm with music by Cyanotype at 4:00 pm
Bronwyn Carter (gnushu) and Johdi Zutt (ohmzutt) are two artists who met in 1997 and almost immediately began writing mail to each other. The world was on the cusp of fully embracing the Internet and to continue to write letters on paper was a kind of ‘slowness’ protest before that term had even been coined.
The mail has been sent back and forth near 20 years, and about a year ago, evolved into the #colouredpostcardshare – Johdi Zutt sends the drawings and Bronwyn Carter adds the colour.
The evolution of the project can be found at #colouredpostcardshare on Instagram.
About the artists:
Bronwyn Carter is an artist living in Berlin. She owns a small studio/gallery called Winterhart, designed to accommodate art experiences in diverse forms, run on a not for profit basis. Johdi Zutt (ohmzutt), human, b – 1975
Cyanotype (featuring Dan Ruccia on viola and David Menestres on bass) will play at 4:00 pm on Sunday, December 11 during the opening reception for #colouredpostcardshare. Go to http://www.indyweek.com/indyweek/cyanotype/Event?oid=5058986 to read a recent article about Cyanotype.
“The Right to Work (reprised)” by John Taj Neville situates itself as the wreck of a vessel, communicating the dire state of under-paid and under-employed workers.
“Right to Work” legislation in North Carolina renders toothless any labor union within its jurisdiction, disallowing a more equitable society on a local level. State employees are strictly forbidden to organize under penalty of law. An oligarchic state government abides by these laws at the expense of livelihood of its constituency.
As such, the centerpiece of the installation (in it’s original form) was sized to imitate the standard measurements of a coffin. As a burial container for the concerns of laborers, the piece’s composition references the structure of a boat, though not one that can ever hold water. It has “run aground;” progress has been disrupted.
In this reprised version, reconstructed in collaboration with Andy Berner, the vessel is still a wreck but has been partially resurrected into a crude lean-to. A drawing of the original boat/coffin design hangs next to the piece.
“The Right to Work (reprised)” opens Tuesday, November 8, 2016 (election day in the USA) at Guest Room project space. Please join us anytime from 7-10 pm to see this work and also “The Candidates” by Sabine Gruffat. We will also be viewing election results through the evening. BYOB.
“The Right to Work (reprised)” will continue on view until December 1, 2016, by appointment only.
One night only – Election night, November 8, 2016
Debate with the candidates through an interactive media piece by Sabine Gruffat. Interactive avatars driven by texting – you can put words into the candidates mouths in real time by texting the numbers on the screen. Go to https://vimeo.com/189870550 to see documentation of Gruffat’s piece.
Live Reading: Amy White’s B-Movie Medusa (The Brain That Wouldn’t Die): Mythic Adventures in the Public Domain [in Modular Form with Liquid Implications]
October 30 at 9:57pm
The notes I took during Amy White’s epic reading of her brilliant paper written under the late Mary Sheriff’s MA tutelage:
Medusa w a head of poisonous snakes
If u look at her you turn to stone
Public domain means many things
Mythical space imaginary realm
The brain that wouldn’t die
Collective ownership of severed heads
Spare body parts
Scoops up her head and tries to keep it alive
She becomes angry
Deathlessness of myths
Double your pleasure
Let me die
Keep massaging the heart
Compulsive doubling in brain script
Central condition / poison and cure
Female non person an/other
Severing doubling altering otherness
Bataille “great violence in humor”
Horrifying and hilarious
I operate when I am done looking
Operator under the knife – opera
Surgery is art
He claims her head as his own
She is an object / a fragment
The part has become the whole
Arbus’ Jewish giant plays the thing
Lapidary develops patience
Rumors or myths
Faciality/ deleuze guitarri
Crystallizes all redundancies
Center of significance
You leave me deathless
Contagion of fear
She is a host
Medical <> mythical
Medusa is a communicable disease
Chaos is medusa’s signature
Chaos – Eros
Union is the antidote
Utterance is chaos
Eloquence is medusas quality
Cixous laugh of medusa
Liquid and dark
Menstruating woman’s look can turn you to stone
Consensual hallucination is cyberspace
Double efficacy / palm plus olive
The reveal like medusa a gaze / verb becomes a noun
Gods and monsters
Medusa is the patron saint of otherness
The mind itself is medusas domain
Shock of knowledge
Amniotic umbilical echoes
Conception at the cellular level
Conceived / conceived