marker (1)
Jo Geczy :
Catcher iv (lutscher), 2018-9
Felt, silk thread, cotton floss, newsprint, bond, plywood, porcelain, potato.
Dimensions variable
(floor installation, as well as one wall work)
Kat Gu :
Untitled, 2019
Insulation pipe, found fabric, pins, printed organza, discarded plastic material, wig, acrylic paint, yarn, curtain tie backs.
(ceiling piece)
Bile, 2019
Acrylic paint on braided insulation pipes, acrylic paint on bike handlebar.
(corner hung sculpture)
Famille Rose, 2018
Resin, found fabric, insulation pipes.
(wall work)
Jo Geczy :
Catcher iv (lutscher), 2018-9
Felt, silk thread, cotton floss, newsprint, bond, plywood, porcelain, potato.
Dimensions variable
(floor installation, as well as one wall work)
Kat Gu :
Untitled, 2019
Insulation pipe, found fabric, pins, printed organza, discarded plastic material, wig, acrylic paint, yarn, curtain tie backs.
(ceiling piece)
Bile, 2019
Acrylic paint on braided insulation pipes, acrylic paint on bike handlebar.
(corner hung sculpture)
Famille Rose, 2018
Resin, found fabric, insulation pipes.
(wall work)
marker (2)
Floor to ceiling
Untitled (another lutscher falls out from her sheets, or just push it in a corner), 2018/9
Felt, silk thread, cotton floss, newsprint, latex
Untitled (breast plate), 2019
Terracotta, half a potato, varnish
Untitled (half a whistle, bedded) 2019
Porcelain, found fabric, insulation pipe, pins
dinner tables
Untitled (an arm not a slot), 2019
Insulation pipe, printed organza, acrylic paint, pins, terracotta
Famille Rose, 2018/9
Resin, found fabric, insulation pipes, newsprint
Untitled, 2019
Insulation pipe, found fabric, pins, printed organza, discarded plastic material, acrylic paint, yarn, curtain tie backs.
Dinner menu
Soup
Ong choy, tofu, miso, shiitake and enoki mushroom, konjac knot
Potato
New potatoes, caraway seed, quark, shallots, linseed oil
Cabbage
Kohlrabi, red cabbage, pickled radish and pepper, lemon, herbs
Sweet
Roasted pear and blackberry, dark chocolate, cardamom and ginger custard, salt
Floor to ceiling
Untitled (another lutscher falls out from her sheets, or just push it in a corner), 2018/9
Felt, silk thread, cotton floss, newsprint, latex
Untitled (breast plate), 2019
Terracotta, half a potato, varnish
Untitled (half a whistle, bedded) 2019
Porcelain, found fabric, insulation pipe, pins
dinner tables
Untitled (an arm not a slot), 2019
Insulation pipe, printed organza, acrylic paint, pins, terracotta
Famille Rose, 2018/9
Resin, found fabric, insulation pipes, newsprint
Untitled, 2019
Insulation pipe, found fabric, pins, printed organza, discarded plastic material, acrylic paint, yarn, curtain tie backs.
Dinner menu
Soup
Ong choy, tofu, miso, shiitake and enoki mushroom, konjac knot
Potato
New potatoes, caraway seed, quark, shallots, linseed oil
Cabbage
Kohlrabi, red cabbage, pickled radish and pepper, lemon, herbs
Sweet
Roasted pear and blackberry, dark chocolate, cardamom and ginger custard, salt
marker (3)
Ceiling to floor
Untitled, 2019
Insulation pipe, found fabric, pins, printed organza, discarded plastic material, acrylic paint, yarn, curtain tie backs.
Untitled (half a whistle, bedded) 2019
Porcelain, found fabric, insulation pipe, pins
Selected text from marker (1)
Tape, print on paper
Penciled shadow of Untitled (breast plate) from marker (2)
Nails painted in white, graphite
Untitled (another lutscher falls out from her sheets, or just push it in a corner), 2018/9
Felt, silk thread, cotton floss, newsprint, latex, Untitled (an arm not a slot),
Insulation pipe, printed organza, acrylic paint, pins, terracotta
Photo by David Ettinger
Ceiling to floor
Untitled, 2019
Insulation pipe, found fabric, pins, printed organza, discarded plastic material, acrylic paint, yarn, curtain tie backs.
Untitled (half a whistle, bedded) 2019
Porcelain, found fabric, insulation pipe, pins
Selected text from marker (1)
Tape, print on paper
Penciled shadow of Untitled (breast plate) from marker (2)
Nails painted in white, graphite
Untitled (another lutscher falls out from her sheets, or just push it in a corner), 2018/9
Felt, silk thread, cotton floss, newsprint, latex, Untitled (an arm not a slot),
Insulation pipe, printed organza, acrylic paint, pins, terracotta
Photo by David Ettinger
I struggled to begin this essay, as the installation had not been com-
pleted yet. I feel that this piece won’t be completed until the dinner has been
served and all the separate configurations have been explored. How does one
write about an art piece that continues to exist in a state of flux, before even its
first iteration has been completed?
Both Kat and Jo’s work has a way of repurposing familiar materials. Past these material’s recontextualization, they are given new form in not just a psychic way, but in a physical way. Jo’s work pulls its forms from the patterns that construct protective outerwear, while Kat’s use of insulation foam to construct the ropes that hang in the exhibition. Between the two of them, the materiality of their objects implies a kind of concealment, a coding of memory and narrative built into the objects.
In Kat’s work there is always a question of the subjectivity of the viewer vs the authority of the artist. Kat’s reluctance or rather, hesitance to assign meaning to her work leaves these sculptures open ended. As we think about the possibility of a sculpture to stand in for memory, she purposefully leaves the memory open to editing.
One of the things I’m most drawn to in Jo’s work is her ability to cre- ate tension between objects. The way she leads viewers through a space relies so much on the staging in between her sculptures, more so than the existence of the sculptures on their own. Like the pause in between notes that can make a melody stronger, the jumps from different materials in the forms repeated in the show act as these different notes.
Curiously enough, memory functions in a similar way- memory exists stored in between the event and its recollection. It is in the act of recall that memory becomes altered, not in the time it is stored. As Richard J. McNally, PhD, puts it:
“Recollection is always reconstruction. It is not a matter of preloading a videotape for replaying in the mind’s eye... The living brain is dynamic, and even the most vivid traumatic memories are not literal, unchanging repro- ductions of what occured.” McNally, “Notes from Debunking Myths About Trauma and Memory”
Every time Kat and Jo access the space over the month of this show’s run they will be altering the aspects of the installation, not in drastic ways, but in small increments. In subtle ways one might miss if focused on the immedi- ate, but if one steps back and looks at how the installation started, and where this exhibition’s existence starts vs. the place where it ends, one can challenge their own memories.
-Jesse Pace
Exhibition Statement:
Insulation felt and tubes dominate the space and compromise movement, familiar objects appear altered past easy recognition, and disparate materials are tightly bound together. Slow Fixtures attends to an impulse the artists share to keep quiet the personal narratives that run beneath their respective practices, and focuses in on this resistance. In padding out the space, the artists anticipate the collision of the gallery interior with the private, mnemonic spaces diffused in their work–how might these narratives and spaces be made ambient with one another? Can a space be pressed to function like memory, persistently unstable and open to edits? What registers are occasioned by this imbrication? Shifting the form of installation intermittently, the opening, the meal, and the closing of the exhibition stand as markers while the narratives are kept moving.
Dinner:
Xingzi Gu and Jo Geczy have planned a meal for 16 guests, which will be open to the public until the venue is at capacity. The meal will be served on February 15th within the gallery amongst sculptures created for the installation. In sharing a meal, the artists hope to press on the tension between public and private space in art making, and to expand the viewer’s interaction with the narratives and forms at play. The vegetarian menu will consist of three courses inspired by the work. Around the dinner table, we might find ways of generating new relations and nourishing dialogue.
Menu:
Ong Choy Soup
(Ong choy, mushroom, tofu, and miso)
Potatoes with Quark and Linseed
(New potatoes, quark cheese, shallot, chive and linseed oil(
Something Biscuit
(Spiced butter biscuit with roasted winter fruit, dark chocolate and cream)
Both Kat and Jo’s work has a way of repurposing familiar materials. Past these material’s recontextualization, they are given new form in not just a psychic way, but in a physical way. Jo’s work pulls its forms from the patterns that construct protective outerwear, while Kat’s use of insulation foam to construct the ropes that hang in the exhibition. Between the two of them, the materiality of their objects implies a kind of concealment, a coding of memory and narrative built into the objects.
In Kat’s work there is always a question of the subjectivity of the viewer vs the authority of the artist. Kat’s reluctance or rather, hesitance to assign meaning to her work leaves these sculptures open ended. As we think about the possibility of a sculpture to stand in for memory, she purposefully leaves the memory open to editing.
One of the things I’m most drawn to in Jo’s work is her ability to cre- ate tension between objects. The way she leads viewers through a space relies so much on the staging in between her sculptures, more so than the existence of the sculptures on their own. Like the pause in between notes that can make a melody stronger, the jumps from different materials in the forms repeated in the show act as these different notes.
Curiously enough, memory functions in a similar way- memory exists stored in between the event and its recollection. It is in the act of recall that memory becomes altered, not in the time it is stored. As Richard J. McNally, PhD, puts it:
“Recollection is always reconstruction. It is not a matter of preloading a videotape for replaying in the mind’s eye... The living brain is dynamic, and even the most vivid traumatic memories are not literal, unchanging repro- ductions of what occured.” McNally, “Notes from Debunking Myths About Trauma and Memory”
Every time Kat and Jo access the space over the month of this show’s run they will be altering the aspects of the installation, not in drastic ways, but in small increments. In subtle ways one might miss if focused on the immedi- ate, but if one steps back and looks at how the installation started, and where this exhibition’s existence starts vs. the place where it ends, one can challenge their own memories.
-Jesse Pace
Exhibition Statement:
Insulation felt and tubes dominate the space and compromise movement, familiar objects appear altered past easy recognition, and disparate materials are tightly bound together. Slow Fixtures attends to an impulse the artists share to keep quiet the personal narratives that run beneath their respective practices, and focuses in on this resistance. In padding out the space, the artists anticipate the collision of the gallery interior with the private, mnemonic spaces diffused in their work–how might these narratives and spaces be made ambient with one another? Can a space be pressed to function like memory, persistently unstable and open to edits? What registers are occasioned by this imbrication? Shifting the form of installation intermittently, the opening, the meal, and the closing of the exhibition stand as markers while the narratives are kept moving.
Dinner:
Xingzi Gu and Jo Geczy have planned a meal for 16 guests, which will be open to the public until the venue is at capacity. The meal will be served on February 15th within the gallery amongst sculptures created for the installation. In sharing a meal, the artists hope to press on the tension between public and private space in art making, and to expand the viewer’s interaction with the narratives and forms at play. The vegetarian menu will consist of three courses inspired by the work. Around the dinner table, we might find ways of generating new relations and nourishing dialogue.
Menu:
Ong Choy Soup
(Ong choy, mushroom, tofu, and miso)
Potatoes with Quark and Linseed
(New potatoes, quark cheese, shallot, chive and linseed oil(
Something Biscuit
(Spiced butter biscuit with roasted winter fruit, dark chocolate and cream)
This sequence of images shows the process of making the painting Homemade Aesthetic. I cook with peers for drawing groups and experimental exhibitions. Throughout the cooking process, I photo-documented the ingredients and kitchenware, then printed out the photos to make this collage above.
An Abandoned Shoe, A Rotten Tooth (group show) at Z-1 gallery, 2018.
I served rice rolls with the drawings at the event.