Time is Out of Joint
Each box, produced in a limited edition three-box set, corresponds to one of the three exhibitions that was installed at the MAK Center in Fall 2020, acting as both an exhibition catalogue and an experimental mobile group show.
Box Two is available for purchase here: https://time-out-joint.square.site/
Artworks by Naama Attias, Casey Baden, Claire Chambless, Woohee Cho, Sophia Daud, Ashu Gera, Holly Harrell, Erin Kapor, Michelle Sauer, Andrew Siedenburg
Limited edition box of artworks, Edition size of 30 + 10 Artist Proofs
Curated by Scott Benzel
Designed by Ella Gold
Produced by hannah rubin, Casey Baden, and Ella Gold
This is the second box, in a limited edition three-box set, that presents a variety of artworks produced in conjunction with the Time is Out of Joint exhibition at MAK Center for Art and Architecture’s Mackey Apartments in the Fall of 2020.
TWO corresponds to the second exhibition that was installed at the MAK Center, from September 24 – October 10, 2020. It is both an exhibition catalogue and an experimental mobile group show. This work is in active dialogue with the following questions:
How can art meaningfully touch and transmit during a global pandemic?
How can we experience the multiplicity of narratives that occur through social connection when we must be indefinitely isolated from one another?
In the tradition of Fluxus artists fluxkits and yearboxes, the Time is Out of Joint box set seeks to sit with these questions by inviting viewers into the physical process of creating personal relationships with a collection of original miniature artworks made during the pandemic.
The three-box set includes 28 original artworks commissioned for Time is Out of Joint and created by the CalArts 2020 graduate cohorts in Art, Photography and Media, and Art and Technology. Works in this box include limited edition concrete sculpture, performance documentation, textile works, vacuum sealed dust, printed aluminum, digital rocks, UV prints, and printed photographs.
Naama Attias, /Embedded Bits of Glam, 2020 Casey Baden, Distorted Clarification, 2020 Claire Chambless, The Sprawl, 2020 Woohee Cho, Domestic News, 2020 Sophia Daud, clutched tints of morning, 2020 Ashu Gera, Harder, 2020 Holly Harrell, Hero Worship: Alternative Endings, 2020 Erin Kapor, Objet Désinfecté, 2020 Michelle Sauer, unfolding/folding box for a box, 2020 Andrew Siedenburg, TWO BLUES, 2020
Writing by Steph Smith
Excerpts from Artist Conversations with Steph Smith, published in TWO:
The fragments harden into a new fragment thus creating a new object.
— Naama Attias
The domestic space is the holder of traces.
— Casey Baden
Ideas float around and get attached to objects eventually.
— Claire Chambless
If I have kimchi that day, I put it in.It represents my day.
— Woohee Cho
Systematic wandering as a way to break up how you’re travelling so you don’t fall into habit.
— Sophia Daud
Everything leads to porn eventually.
— Ashu Gera
I am interested in uncontrollable variables and what is hiding in the mundane. I am not interested in ‘this plus this equals this’.
— Holly Harrell
Angel numbers are: 3, 3, 3. The three pushes away from the binary and moves toward the grey space.
— Michelle Sauer
Nine reds. That’s the limitation I’m going to next.
— Andrew Siedenburg
Time is Out of Joint
An interactive digital exhibition was published alongside each new installation at MAK Center, which hosted launch events, film screenings, and digital translations of each artists’ work.
single channel video
NSFW (angry yellow meat)
two channel video installation
NSFW is the project where I have been taking screenshots of dick pictures on Grindr, Jack’d, two gay dating apps, since November 2018. So far, there are 50. I collected them only if they sent pictures without asking or if there had not been any conversation between us. These unsolicited moments are turned into my art materials.
Two videos are shown on each side of the inclined box spring. One on the monitor is where I open their penis to speak and sing my thoughts, the other is where I 3D-scanned my body with 6 different poses and penetrate the surface of the digitalized body with my agency.
hashtag whynohomo (conversations)
two channel video installation
People using the hashtag nohomo were asked the questions: “what does #nohomo mean to you?” or “why did you use #nohomo on this post?” If they respond, the conversation was initiated. I was curious to see what they would say or how they would react if I tell them I am a gay man and was actually offended by their use of #nohomo. Some were upset and argued, some heard me out, some apologized, and one even offered encouragement. Further conversations lead to questions as such: What is the boundary between friendship and love among men? How should I react to these jokes as a gay man? Am I too serious? How can we communicate amidst of our differences?
no title (tricycle)
digital chromogenic print, aluminum mount, wood frame
no title (tricycle), 2020 is a large-scale photograph that measures at ~ 9 ft x 6 ft and features a red flyer tricycle secured to a pole with a kryptonite lock in an unidentified urbanscape. This piece is a photographic portrait of an object(s) Daud encountered during her ongoing observational field research of quotidian objects that are placed in outdoor spaces and appear to exist in a liminal state between functionality and disintegration. Through portraiture, Daud attempts to examine and call into question how meaning is prescribed to objects and how in turn these objects ascribe meaning and bring light to conditions and structures of the times we inhabit. Daud creates photographic portraits of these objects at a grand-scale as a way to re-frame a physical, sculpture-like, confrontation with the viewer, and inviting them to question their relationship with these familiar objects.
My body will never forget
Video Performance Installation
My body will never forget is a video performance installation. The performance is a reciting of a spoken word poem, and repeating actions of striding atop of a set dinner table and serving of food on that very table. These repeated actions are manifestations of a meticulous internal food ritual that is brought forward to the surface and is disclosed to the public by means of the performance. The performance reveals the inner mechanism of diets, eating obstruction and food prevention I experienced as a teen. The serving includes a food measuring ritual which refers to a daily WeightWatchers-like routine of exactly measured and restricted amounts of food in order to lose weight.
The installation space is comprised of the chairs and the shattered plates, glasses, candle holder, and candles featured in the video. The audience is invited to be a silent participant in the dinner. The video is projected on the tablecloth. The resulting ritual is a mixture between inviting the audience to the table and preventing food from them; it is simultaneously an act of generosity and rejection mirroring the internal conflicted food serving ritual. This conflict reflects ambivalent feelings towards food: on the one hand craving it and on the other preventing yourself from eating it.
Queen C's Diary
I started photographing Queen C's Diary a couple of days after the quarantine in LA started. The diary didn't start as a project, it was a way for me to keep myself sane, to give myself a structure at a time of instability. I had no intention to share it but one day when I was asked what I'm doing I shared the Diary and got very encouraged to continue and doing this, this project is a work in progress that will continue until the quarantine will be over.
The project consists of videos, pictures, poetry, diary clips, correspondence etc. I named the project Queen C's Diary because of the meaning of the name Corona in Spanish (Crown), with time I began to think of Corona as a personality, as a woman, as a queen, this is the diary I am writing and photographing for her, for me.
Untitled (front and back), 2020
Acrylic, vinyl, charcoal on canvas, wood, electrical conduit, electrical wire, 83 × 125 inches
Through the use of illusionistic space, humor, color, and gesture, Michelle K. Sauer uses painting as ameans to explore idealization in the uncanny. Stemming from the allegorical, the work engages with questions around agency and ontology through a visual myriad of exchanges between the body and its surroundings. Objects become stand-ins for the human body and figures appear to mimic their environment. The “frontside” of the canvas sets a stage for performativity and transformation within the narrative. The “backside,” often facing the viewer first, uses the sculptural industrialization of objects to further embody the unfolding of the rectangular and the politicized nature of space. Legibility within this space is questionable, however, both visually and physically. Work stands dimly lit, grays embody in-betweenness, electrical wires, and interiors remain exposed. The figures, grouped in threes, or the several, push away from dichotomies and into spaces of liminality.
Untitled (front and back), 2020
Acrylic, vinyl, gauche and charcoal on canvas, wood, graphite, 91 × 77 inches
Acrylic on canvas, 83.5 × 64 inches
A tour of the now closed Fresh-kills Landfill, but conducted at Midland Beach, Staten Island. The Mourner investigates the "site" in the form of a ghost tour, claiming to excavate the bodies of the former sanitation department who worked at the site as well as real estate agents, mall workers and locals.
When Jackie gives a televised tour of the White House, she goes to market.
I examine American mythologies from the practices involved in storytelling to purchasing bulk ketchup to save money. I create illogical systems designed to illuminate the equally illogical systems we participate in everyday by exaggerating the absurdities of lower/ middle class white America. Through the performance of specific personas I’ve created, that at once critique and embrace the capitalist system they were interpellated by. My understanding of this system is informed largely by grief. The characters process and generate this grief through their many grievances. My personas do the work of the historical, emotional and political in a land that is simulated and exasperated by fetish, mass media and contamination.
Jackie steps out of tour mode and leads us in a sing-a-long of a negative Olive Garden review in the Los Angeles suburbs. Referencing actual historical events, Jackie rewrites history by staging her own assassination in an ode to the suburbs.
Maybe a Fire!
The filming of the production of the planning of an event, in front of a live audience.
a secret cord that can't be cut binds us to the bodies of yesterday
Wood, Plexiglass, Concrete, Newspaper (July 2020), Texas Marigolds, Light bulb, Cord, Dyed Muslin, Polyurethane
This latest work is a meditation on the last two months of the global pandemic crisis, an experience that has largely been characterized by isolation, loneliness and a surreal sense of dissociation. Windows are computer screens and observation tanks flanked by the increasingly symbolic gesture of the printed newspaper.
turn me loose
Digital video, 5 minutes 26 seconds, 2020
Filmed in front of a 99 Cent store in Hollywood, CA, the video explores the human capacity to function as a vessel for ideas and how society uses a theory of object-hood to determine value.
Fabric, polyester fibers, lipstick
Spare Me the Heroics, 2020
polyurethane foam, epoxy resin, cardboard, oyster shells, imitation pearls
My work examines the production of subjectivity, specifically the fabrication of femininity and aggression. I work with objects or materials that carry strong social and political meaning - such as pearls or police barricades - prioritizing their function as signs of physical and ideological containment, enclosure, or apparatus of support for the physical body and psychic self. I configure these objects and materials in ways that call into question their materiality by separating what they are as cultural objects from what they are made of. Many of my works create a set of precarious constraints, or impossible conditions for objects in relation to gravity. Employing a similar critical strategy to that of a rebus or visual puzzle, my works oscillate between the aesthetic and the cultural, making space for the viewer to imaginatively try out possible strategies of defiance, play and refusal.
Barriers (So Heavy), 2020
plastic, polyurethane foam, epoxy resin, plaster, imitation pearls, 180 inches × 180 inches × 67 inches
polyurethane foam, epoxy resin, aluminum chain
my shifting attachments to you(s)
natural dyed cotton, linen, silk, waffle weave, muslin, & canvas with sewing thread and embroidery floss
◦ held.back. care-ful not to overwhelm o(u)rdinary reality ◦ confined in a shifting maze
(blurred perspective of kaleidoscopic fluidity) ◦ an interior labyrinth in the mind of the body in the room of the house ◦ in which I dwell in the preserved iridescence ◦ embodied contradictions undergone. the object: I emerge with less armor or more ◦ haunting is the labor of ghosts – divine &; exquisite witnessing, darling ◦ precarious seams split open openings produce progenous interactions ◦ cautious beginnings (of the record player) and abrupt endings (of the cycle) will be no match for this relentless mayhem ◦ meandering beyond the memory’s surface is a built-up detritus of relational matter ◦ impenetrable distance; an infra-thin skin or vast chasmic thresh.hold.
In the physical exhibition, Time is Out of Joint, this series of ten triangular panels will temporarily take the shape of a single piece before facing a future of separation, distance, and reconfiguration. This convergence will take the form of a geodesic dome installed in an outdoor corridor at the Mackey Garage top. Using architecture as an installation device, the goal is to produce a place for dwelling (in) - a simulated shelter with an implied privacy- in which the viewer is “housed everywhere, but nowhere shut in”, thus developing a space for immersion and reflection. A line in the text above titles each panel in the series, further entangling the individual works into a singular piece, and expanding the rumination on connection and proximity at a time when physical touch is out of reach.
Hold My Place, I’ll Be Back Soon
sun-exposed body prints with cyanotype on bed sheet, canvas & table cloth, with foam and embroidery floss
Shared Space: Belonging (to People/to Places) My Body Goes in the Space You Make ◦ To Know the Resting Place ◦ Shared Space: Belonging (to People/to Places) Where Am I in Relation to You?
I can’t get away from my body, nor do I want to. Constantly seeking embodiment, groundedness. Like the present, the body seems in a constant state of escape; fleeting, transient, in motion, hollowing out, leaving behind its marks traces impressions, odors, oils, stains… Not quite erotic, but liminal, on the precipice. All relations are ambiguously disorienting. We collapse. We Merge. We bleed. I often think of domestic space as an autonomous subject with whom intimacy and relation exists as well as a place impressing itself on me as I leave my impressions on/in it, in constant exchange or conversation. I think about the illusory nature of boundaries in general, between persons and within spaces, and their malleability. These works are constructed with fabrics found in the home in attempts to imitate this relationship.
cyanotype and acrylic on canvas
Matter of Your Facts ◦ Chaotic Matter ◦ Perspective Matters ◦ The Matters at Hand
Oil on canvas
Brick by brick click by click, building a wall around our cognizance. It’s a cycle of distortion, a forced phantasm of a tactile form.
Oil on canvas
This loss of Palpable connection, silence in the voices around, repressing our mundane habits and becoming a part of who we are and who we might be as a society.
Breathing through the fabric makes one focus on it every time and question the significance of proximity. These fabricated interactions of the screen which privileges those who beam themselves on it, only exacerbate existing disparities
Oil on canvas
Dehumanized face of a human mind, desensitised by its treacherous grip. A terrifying space of invisibility engulfing one into the white light.
Sculpture, found objects, 52 × 2 inches with 12 inch base
Two blues acts as a leitmotif for the installation Dirt Track in the Mackey garage; reflecting on positive and negative space as an entrance for essayistic interpretation.
parabolic dome speaker, UV prints on canvas, acoustic insulation panels, garage ball stopper
Part of the reverberant sound in the garage––from a dirt track race in Bakersfield, CA––is partially absorbed by the canvas-wrapped acoustic insulation panels, which have retained on their surface the latent images of muscle car calendar pages. This experience of sound and image is adjacent to photofilmic possibility or forms of writing that provide a space for contemplation.
Authentic Sound Effects
Synchronized 3-channel installation (loop), HD video, three minutes and twenty seconds
The sound of Authentic Sound Effects is taken from LP recordings marketed as "authentic recordings from the real world." Setting these sounds against my own selection of images presents the possibility of constructing and questioning ideas of authenticity of visual relationships to sound recordings. Notions of truth and authenticity are filtered through perceptual disjunctions that engage with personal memory and collective memory as antagonisms of authority.
Andrew Siedenburg is a multi-disciplinary artist based in New York working in photography, sound, film, painting, and sculpture. His work explores notions of time, memory, and presence in the indexical and prosaic through the vocabularies of sound and image––and the relationships therein––both shared and in tension.