Exhibition: 21 October – 9 December
Opening: Saturday 21 October 4-8pm
Curated by Barrett White
INCA: 2 West Roy St. Seattle, WA 98110
New opening hours: Saturdays 4-8pm, and by appointment
Collecting precarious citations in e-waste landscapes
Inspecting the terminal image in cyanic light
Sifting through bone-bleached terminologies
Analyzing cel-shaded shards of impossible hours
Probing the expressions of unrecognizable past lives
Culling the corrupt files of disgraced memoranda
Surveying probable points of recursive incursion
Examining the syntax of mechanical mnemonics
Dissecting self-annihilation in fractured optics
Detoxifying the incinerator’s plasticine necrotics
Hammering the dark mirror into de-fragged incident
Auguring the infinite shut down nightfall scene
I’m looking out the window at other windows.
—Rosmarie Waldrop, Lawn of Excluded Middle
A series of machine-woven blankets depict a former president cavorting on vacation in tabloid fashion. Digital paintings echo ancient Egyptian symbology in brisk finger strokes. Delicate graphite portraits are derived from extreme makeup social media accounts. Publications push the limitations of print on demand with bleakly conceptual constraints. Tablets, appearing to be unearthed from antiquity, present a lexicon of logos adjacent to emoji. An image of nature is trapped within the reflexivity of transparent film. These seven artists navigate the screenic and interpret its totality without the need for power cables or wifi access. The resultant artworks present themselves as fragmented artifacts: remnants of a speculative archeology, a future ruin. This futurity is flattened by the disparity of our contemporary moment, which, in its constantly accelerating reconfigurations, pulsates with the warning signs of potential technological collapse and complete cultural dislocation. This exhibition attempts to generate a material vocabulary for the post-interface.
Rindon Johnson is a multidisciplinary artist and writer. Johnson has exhibited and read widely in Europe and the US. Johnson is the author of Nobody Sleeps Better Than White People from Inpatient Press, the virtual reality book Meet in the Corner from Publishing-House.Me, and Shade the King from Capricious. Johnson’s writing has appeared in Hyperallergic, Rhizome, The Brooklyn Rail and The Miami Rail. Somehow, Johnson lives between Brooklyn and Berlin.
Ed Steck is the author of The Garden: Synthetic Environment for Analysis and Simulation (Ugly Duckling Presse), The Rose (with Adam Marnie, Hassla), sleep as information/the fountain is a water feature (COR&P), Far Rainbow (Make Now Books), DoorGraphicDataRecovery (orworse press), A Time Stream in Spaces: The Cultic Parody of Time-Induced Capital (West), and The Necro-Luminescence of Pink Mist (Skeleton Man Press). His work has been exhibited nationally and internationally, most recently at the Los Angeles Museum of Contemporary Art. He is the editor of Theme Can, an online art and writing publication.
Robert Joseph Sandler (b. 1991, Baltimore, MD) lives and works in New York City. He is an MFA candidate in Painting at Bard College and holds a BA in Science & Technology Studies from Brown University. He has participated in exhibitions in New York, Providence, Berlin, Germany, and Gstaad, Switzerland. Recent projects include Painting Subscription—a biweekly email.
Holly Melgard is the author of the Poems for Baby trilogy (Colors for Baby, Foods for Baby, and Shapes for Baby), The Making of The Americans, Black Friday, Reimbursement (Troll Thread), Cats Can’t Taste Sugar (Gaus PDF), and Catcall (Ugly Duckling Presse, forthcoming). Along with Joey Yearous-Algozin, she’s co-authored Liquidation, White Trash (Troll Thread) and Holly Melgard’s Friends and Family (Bon Aire Projects). She is currently writing her PhD dissertation on “Poetics of Ubiquitization: Textual Conditions of/for the Ubiquitous Computing Age” in the Buffalo Poetics Program, designing and co-editing Troll Thread press, teaching writing at CUNY, and living in Brooklyn, NY.
Joey Yearous-Algozin is the author of Utopia (Counterpath), Caller Removed (Troll Thread), and the multi-volume The Lazarus Project (Troll Thread and GaussPDF), among others. Along with Holly Melgard, he’s co-authored Liquidation, Holly Melgard’s Friends and Family (Bon Aire Projects), and White Trash (Troll Thread). He’s a member of the publishing collective, Troll Thread. He lives in Brooklyn, NY.
Somnath Bhatt is a designer and artist, born and raised in Ahmedabad, Gujarat, India. His interests range from technology and media, multilingual typography, arts of South Asia, and traditional crafts. His work explores metaphors and taps into the dynamism of liminal, peripheral, and intersectional spaces in art and design. Seeking the new in the old, and the old in the new, is his favorite form of making.
Maya Martinez grew up in Florida. Now she dances on the weekends.