CONTAIN

When 28 Jan 2020 - 1 Feb 2020
Where HESSE FLATOW
508 W. 26th Street, Suite 5G
New York, NY 10001
United States
Enquiry 917-881-5631

Curated by Nicole Kaack

Chang Yuchen, Paige Landesberg, Shanzhai Lyric

Opening: Tuesday, 1/28, 6-8PM

Twelve Month Crush Book Launch: Friday, 1/31, 6-8PM

Closing performance: Saturday, 2/1, 6-8PM

A “good” shop window, like a “good” advertisement, organizes its selection of goods so that they appear to meet the (psychologically) unique needs of the person who gazes upon them. A spectator standing in front of a show window…feels his perception disturbed if other people are trying to occupy his particular position, or if he becomes too aware of other showcase displays and the people responding to them. [1]

Like many other art spaces in New York, Hesse Flatow will play host to the tidal wave of events associated with the annual Fashion Week. And, heart on sleeve, the gallery program corresponds in turn with its own five-day fashion show which opens a dialogue surrounding the identity-forming aspirations of material culture through responses to the roles of maker and consumer, and the missed connections between.

Negotiating a landscape of objects built to be discarded—from fast-food wrappers and street signage to cans of Crazy Stallion and kiddie motor-bikes—Paige Landesberg photographs urban debris in the effort to discover a functional, de-aestheticized sculptural relationship in such found accumulations. Re-printed as banners on vibrant swathes of terry cloth towel, the patchy images also evoke the elongated rectangular signage of store banners, truck trailers, or billboards. Marketing the towels changeably as wearables and as beach accessories, Landesberg plays into the behavior of “window shopping identity”—as worded by Barrett Avner, Contain—however, with objects that both elicit a desire to consume and indicate the waste that consumption produces.

Use Value, a brand designed and handmade entirely by Chang Yuchen, also responds to the relationship between body and environment in the creation of protective if exquisitely delicate aprons and masks. These gauzy, tenuous barriers signal the precarity of labor when tied to the utopic ambitions of artistic labor and love. Priced to reflect the cost of materials and time spent on each object in relation to all previous hourly rates that Chang has earned, the works reinforce the reality of artist as material producer contending with the economic reality of a bottom line. At the same time, Chang’s patterned, fabric assemblages bring art into the intimate sphere of articles meant to accumulate the splashy, sticky stains of the body and all that it encounters.

An installation of shanzhai shirts—the Chinese term for counterfeit or imitation goods—pokes both facetiously and earnestly at language poetics in a globalized and glitchy contemporary. Collected and curated by Ming Lin and Alexandra Tatarsky, the shirts bear a syncopated rhythm of misspelled words and syntactical incongruities, which underline the lost translation and unintentional illegibility of an anonymous maker, the garbled utterances of capital’s ghost.

The exhibition title—in part tipped hat to the ingenious name of Avner’s LA-based label—suggests the vague authorship of the boundaries that fortify our bodies and psychic selves, objects acting dubiously as a constellation of identity-signifiers and as traces of makers and consumers unknown.

Image courtesy of the event organizer.

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