Ham-Slicer Assemblage: An Extended Cinema Performance by Thomas Dexter

Saturday, January 20, 2018 at 7:00 pm (in coordination with the opening of APEL, part of The Wrong Biennial. As an added bonus, The Concern newsstand will be on site.) Dexter’s performance acts as a preview of Cosmic Rays Film Festival, coming to Chapel Hill on March 1-2, 2018.
Thomas Dexter is an NYC-based artist working within the language of cinema. Dexter’s solo and collaborative projects have been exhibited, screened, and performed at venues internationally, including the Solomon R. Guggenheim Museum, Microscope Gallery, Experimental Intermedia, PS1/MOMA, Roulette, The New York Museum of Art and Design, Sight and Sound Festival, Issue Project Room, the Mononoaware Festival, The Lesley Heller Workspace, The Invisible Dog, and in collaboration with ESP-TV among others.



F R A G M E N T S by Gert Scheerlinck
On view September 22 and 23, 2017
Opening Hours, Friday, September 6, 6:00-9:00 pm and Saturday, September 23, 2:00-7:00 pm.
with “cilia,” a performance by Sunday SITES featuring Stephanie Leathers on Friday from 7:00-9:00 pm. (NOTE: Saturday’s performance of “cilia” has been cancelled.
Gert Scheerlinck is a conceptual artist who lives and works in Oosterzele, Belgium. He studies the poetics of everyday life. Using installations, sculptures and assemblies he reconstructs memories and events. Scheerlinck presents found objects and arrangements that approach conceptual ambiguity, allowing for open interpretation while offering intensely minimalist aesthetics reminiscent of Arte Povera.
Scheerlinck complicates his arrangements by entering a world of intense yet blasé anecdotes commenting on the fabric of society. He revitalizes discarded materials to catch his viewers in a web of imprecise or displaced signifiers and develops tension in a reconstructed, banal conversation. He challenges the viewers to engage in the dialogue between matter and everyday life and invites them to think about the trajectory of these materials.

The work, assembled by found objects, evokes contradictory feelings and can be read in different ways. As a sculpture it is rich and powerful in meaning, but at the same time the individual materials used refer to Arte Povera.
The image can be perceived as pure poetry, chock-full of nostalgia. ‘Collar’ is carefully hung up on the arid branch and launches us back to our past childhood: playing in the woods, maybe ripping our outfits and arriving home with ragged clothes. What we see, could be a mere artefact of a happy history lived.
Despite the minimal aesthetics, the piece also has a disturbing feel to it. It gives the impression something bad happened. A collar hanging of a branch with a patch of red suggests there is someone severely hurt and it could be self-inflicted.
Lien Lannoo – Art Critic

The disguise of objects.
Despite the developments in conceptual art and minimalism in the United States, it is Europe where the confrontation of political ideas and ways to think about the object develops within the art scene; with Arte Povera as a result. These artists consider the creation and subsequent evolution to be boundary. The material is not seen as a source in itself, the object does not take the form of an image, but is considered a living thing that participates in the drama of human existence.
A creator such as Gert Scheerlinck doesn’t escape to a story like this. His gaze is not built on a binary polarization of boundaries between sculpture and installation, or the prosaic and the poetic. Gert’s interests are not manifest in his speeches nor do they leave evidence. There is something that is hidden and that navigates in the subterfuge of a script that we cannot decipher. It is not about juxtaposing different universal codes or creating a script from the material either, nor about tracing the influence of the previous origin of the object which we identified. Gert Scheerlinck is questioning the meaning of sculpture from the legitimacy that produces its placement in the public sphere or the art institution.
Gert’s work has much in common with Latin American artists who embody this kind of work, we refer to Cildo Meireles and Gabriel Orozco. His work enters into that hybrid zone of the global and the local, where the artist opens a conversation between the territorial and the universal. When studying his work, it is interesting to see this fragile crossover between sculpture and installation in different works, in a language where the object acts like a performer who improvises his place in the scene.
We are dealing with an artist who not only moves values that reach a symbolic dimension, but also challenge us at different angles, starting with very important values: industrialization, communication, awareness of ecological disasters on our planet, … values that reveal themselves as micro dissections. Although the objects show their structure, they are reconstructed from the fragment. It is not essential to display the work, it is not important for Gert to show his beloved objects, it is about the visitors to find a possible story in what they see. It is for this reason that the approach to his work is not always easy to find. It is a quest in which the discovery of the detail discreetly points to the complexity of the syntax.
Scheerlinck introduces a way of thinking about art that, although sometimes quite dark, takes into account the power of imagination. In my opinion, Gert brings a twist he approaches through his own symbolism, and this estrangement between the invention and what is projected as reality. The everyday world presents itself as a eulogy residing between the natural and the artificial, a confrontation biased by prosthetics that make us dependent. Scheerlinck creates this other place, that is neither commemorative nor apocalyptic, it is the small circle of common things. Each work being an image of life itself, in small and higher expectations, in dreams and nightmares, in determinations and sighs, …
There are many ways to unravel Gert’s work, his work exists across a variety of mediums in a world that questions objects, and is going into the obsession to preserve their autonomy which in turn, and at the same time, depends on the necessity of the post-autonomy that belongs to contemporary art.
Jorge Antonio Fernandez Torres
Art critic, curator and director of the Museo Nacional de Bellas Artes de Cuba


Friday, October 22, 2017 from 7:00-9:00 pm (in coordination with the opening of FRAGMENTS by Gert Scheerlinck)
Please note: Saturday’s performance has been cancelled.
Sunday SITES will perform “cilia” featuring artist Stephanie Leathers (curator of Sunday SITES).
Leathers will stir the air with movement and questions that send bodies into motion. This highly improvisational endurance performance will utilize available space, textiles and the natural landscape to evoke questions about how we are present with others (community) and ourselves?
Audience members are encouraged to move through, observe and interact with the performers. Level of involvement is up to the viewer.
Stephanie Leathers is a choreographer, photographer, educator, artist, and Durham native. In addition to connecting and collaborating with members of the community, she is the curator of SundaySITES, a site-responsive investigation on the theme of development. Currently, Stephanie is a dance educator for ADF’s Scripps Studios and Durham Public Schools.

Crossing The Blue Hour

On view by appointment from July 6 to July 21, 201.
Opening Reception, Thursday, July 6
6:00-9:00 pm
with music performance at 8:00 pm by Polyorchard. Polyorchard will be Bill McConaghy, David Menestres, Charles Phaneuf, and Christopher Robinson.
Crossing The Blue Hour, by Peter Francis Barnett and Shane C. Smith
it’s a moment (?)…
It occurs over the course of a few seconds… a vivid recollection of a night in a room… she’s on the foot of the bed talking, her hands clasped together in front of her.  In the window behind her, a red neon sign.
Guest Room is pleased to present a new photographic series by Peter Francis Barnett and new mixed-media sculptures and paintings by Shane C. Smith.
The Blue Hour is a series of six photographs inspired by the visual aesthetic of David Lynch’s 1986 drama Blue Velvet and specifically by the character Dorothy Vallens.
-Peter Francis Barnett

The Blue Hour (Blue Lady No. 2), Peter Francis Barnett

The Blue Hour (Blue Lady No. 2), Peter Francis Barnett
1983, Shane C. Smith
Crossing, is a real noir, the ghost of Sarah Fox, whose body was found in Inwood Hill Park, the woods I walk in daily. Born in 1983, she is my age, now gone; I walk the same paths through the yellow tulip trees.
-Shane C. Smith
Peter Francis Barnett is a photographer and multimedia artist exploring the “constructed image” and its function in contemporary culture.  He has shown work in New York, Los Angeles and Prague.
Shane C. Smith’s venues circle between unsanctioned performance spaces and curated museum exhibitions. Exhibitions and performance venues include the Institute of Contemporary Art, Maine College of Art, Portland Maine; the John and June Allcott Gallery, UNC; Ackland Museum, UNC; DAC Gallery, Los Angeles; and the American Museum of Natural History, NYC.
All images are subject to copyright. Gallery approval must be granted prior to reproduction.
Please join the conversation with Guest Room on Facebook (link), and Instagram (link), via the hashtags #ShaneCSmith #PeterFrancisBarnett and #Guestroom

MATERIA: A temporal collaboration at three atypical sites


On view on Friday, March 31, 2017 from 6:00 – 8:00 pm and on 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



#colouredpostcardshare with ohmzutt and gnushu
On view by appointment from December 11, 2016 to January 8, 2017.
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

B-Movie Medusa (The Brain That Wouldn’t Die)

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]

Elin Slavick
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
Immaterial commodity
The brain that wouldn’t die
Collective ownership of severed heads
Spare body parts
Impatient erratic
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
Optical unconscious
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
Mythogenetic bond
Verbless fragment
Frozen representation
Lapidary develops patience
Rumors or myths
Faciality/ deleuze guitarri
Crystallizes all redundancies
Center of significance
Bodyless face
You leave me deathless
Contagion of fear
She is a host
Medical <> mythical
Medusa is a communicable disease
Unbodied fragment
Chaos is medusa’s signature
Too uncontrolled
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
Archaeosychic past
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
Filmic water
Amniotic umbilical echoes
Conception at the cellular level
Conceived / conceived