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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

'Sloan' by Joseph Kusendila at Kantine, Brussels

'Grommets' by Rasmus Røhling at C.C.C., Copenhagen

'Goggelmoggel' by Lukas Schneider at Regatta 2, Dusseldorf

'Catacombs of Love' by Sylbee Kim at MÉLANGE, Cologne

'Kündigung' by Jannis Marwitz at Lucas Hirsch, Dusseldorf

'Fantasy Finery', a Group Show at Berlínskej model, Prague

'A curse in disguise' by Adam Cruces at Disneyland Paris, Melbourne

'Autonomia
' by Kaspars Groševs at Noass, Riga

'Bracket Sentiment And The Technicolor Yawn' by Sophie Serber at Shore, Vienna

‘Exception of (not) being’, Online Show Curated by Essenza Club and Rhizome Parki

'Energy Systems / 3: Safe in the Front End' by Joachim Coucke & Lasse Hieronymus

'Giantess' by Rose Dickson at Melanie Flood Projects, Portland

'Lieber Nackt Als Gefühlsleben' by David Ostrowski at JIR SANDEL, Copenhagen

'This Land is Your Land' by Andre Yvon at darkZone, New Jersey

'Eurodaemons' by Jess Mai Walker at ALMANAC INN, Turin

'MOUTHLESS Part I' by Dorota Gawęda and Eglė Kulbokaitė

'The Cave & The Garden', a Group Show at FUTURA, Prague

'I am sorry to inform you that things are other things now' by Ian Clewe at Malad

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