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'At the End of the Game You Will Be Forgotten', a Group Show at Alyssa Davis Gallery, New York

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Isabelle Frances McGuire, Cheap is Life, 2018
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Bea Fremderman, Untitled, 2018
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Fin Simonetti, The Last Judgement, 2016
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Georgia Horgan, All Whores are Jacobites, 2017
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Georgia Horgan, All Whores are Jacobites (detail), 2017
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Georgia Horgan, All Whores are Jacobites (detail), 2017
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Georgia Horgan, All Whores are Jacobites (detail), 2017
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Georgia Horgan, All Whores are Jacobites (detail), 2017
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Georgia Horgan, All Whores are Jacobites (detail), 2017
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Loney Abrams & Johnny Stanish, No Species, 2018
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Loney Abrams & Johnny Stanish, No Species (detail), 2018
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Loney Abrams & Johnny Stanish, No Species (detail), 2018
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Loney Abrams & Johnny Stanish, No Species (detail), 2018
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Ficus Interfaith, Redwood at Night (title by Frank Traynor), 2018
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Ficus Interfaith, Redwood at Night (title by Frank Traynor) (detail), 2018
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Adam Shiu-Yang Shaw, slow utterance (grighund), 2018
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Adam Shiu-Yang Shaw, slow utterance (grighund), 2018
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André Filipek, CAPITANES, 2018
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André Filipek, CAPITANES, 2018
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Bea Fremderman, Untitled, 2018

Consider a digsite. Digging is always a vertical movement, down into the archaeological matrix. Each layer, defined as a unit of sedimentation greater than one centimeter thick, is separated from previous layers by an event. A fire, a flood. These intervals are discrete changes in the character of the material being deposited.

Esther Leslie argues that excavation is an ‘inverted’ astrology. “Astrologers study the forces and influences of the stars,” she writes, while excavators discover “the manifold properties of earth and stone strata.” Geology is regarded as nature’s writing, a cipher language. “The language of our world is reflected in the underworld, if subject to decoding.” 1

What time is it?

All possible histories are encoded in the strata. A temple column supports a basilica’s nave; broken palaces find their way into household walls. A fine intaglio is encrusted with black accretions and dusted with so many layers of silt and sand that it becomes a pebble. At the digsite, such actors, both artifactual and ecofactual, must be coaxed into speaking.

The thickness of an event, and the earth in which it is held; an open shaft; the patina of an old chair; the carbon cycle. Nothing is new, and nothing is not new.

1. Leslie, Esther. Synthetic Worlds: Nature, Art and the Chemical Industry. London: Reaktion Books/Univ. Chicago Press, 2007. 38-39.

19.4.18 — 20.5.18

André Filipek, Bea Fremderman, Georgia Horgan, Ficus Interfaith, Isabelle Frances McGuire, Adam Shiu-Yang Shaw, Fin Simonetti, Loney Abrams & Johnny Stanish

Organized by inparadi.se (Amelia Farley and Henry Osman)

Alyssa Davis

'Sour Well', Group Show at Nir Altman, Munich

'Force Majeure' by Aaron McLaughlin at Loods-6, Amsterdam

'Crowd Control', Group Project by Arcadia Missa x High Art, Arles

'Rain Calling' by Lito Kattou at Tranen, Gentofte

'And Darkness the Right Hand of Light', Group Show at MELK

'Don’t Say I Didn’t Say So', Group Project at Kunstverein Bielefeld, Bielefeld

'Memorial Universe!' by Ella Rose Flood at Jargon Projects, Chicago

'Полынь' by Zukhra Salakhova at Plague Space, Krasnodar

'Hamra' by Monia Ben Hamouda at Ariel – Feminisms in the Aesthetics, Copenhagen

'Nature Angst' by Valerie Keane at High Art, Paris

'Die Blume Unterirdisch Denken' by Hans-Henning Korb at Fragile, Berlin

'BELIEVING IN SUCCESS' by Bastien Cosson at Palette Terre, Saint-Martin-de-Seigna

'Sole con le code' by Valerio Nicolai at Clima, Milan

'SHOOTING STAR' by Julian-Jakob Kneer at Blue Velvet Projects, Zurich

'Pretty Pictures' by Olga Paramonova at Spas Setun, Moscow

'Süchtig nach Modeschmuck' by Nico Ihlein at Schiefe Zähne, Berlin

'Swallow' by Sami Schlichting at Lucas Hirsch, Dusseldorf

'FERA', Off-Site Group Project by Sans Souci at Dyrehavsbakken, Klampenborg

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