image text special

'envoi', a Group Show at SIBLING, Toronto

article image; primary-color: #D2D2D2;
Garrett Lockhart, Peace, Freedom, Happiness, 2018
article image; primary-color: #BDBDBD;
Garrett Lockhart, Peace, Freedom, Happiness (detail), 2018
article image; primary-color: #CDCDCD;
Installation view
article image; primary-color: #BBBDBC;
Garrett Lockhart, Misty rose, 2019
article image; primary-color: #B8BDC1;
Garrett Lockhart, Misty rose (detail), 2019
article image; primary-color: #7F7E83;
Sara Kay Maston, Ground, 2019
article image; primary-color: #7A828F;
Sara Kay Maston, Sky, 2018-19
article image; primary-color: #9498A1;
Installation view
article image; primary-color: #DDDDDD;
Installation view
article image; primary-color: #CCC8BF;
Parker Kay, I WROTE A NOTE BEHIND THE WALL, 2019
article image; primary-color: #CFC8BE;
Parker Kay, A shipwreck Seen From the Air, 2019
article image; primary-color: #C9C5BC;
Parker Kay, A Desire Guide for Inverted Mountains, 2019
article image; primary-color: #DCDADB;
Installation view
article image; primary-color: #B0AFB4;
Garrett Lockhart, Little sunflower, 2019
article image; primary-color: #AFAFAF;
Garrett Lockhart, Little sunflower (detail), 2019
article image; primary-color: #A1A19F;
Installation view
article image; primary-color: #C6C7CB;
Garrett Lockhart, Untitled, 2019
article image; primary-color: #929898;
Garrett Lockhart, Untitled, 2019
article image; primary-color: #989A99;
Garrett Lockhart, Untitled (detail), 2019
article image; primary-color: #969A9D;
Parker Kay, Second Lake Island Struck by Lightning, 2019
article image; primary-color: #696866;
Parker Kay, Second Lake Island Struck by Lightning (detail), 2019
article image; primary-color: #979B9E;
Parker Kay, Jeanette Island, 2019
article image; primary-color: #676664;
Parker Kay, Jeanette Island (detail), 2019
article image; primary-color: #AFAFAD;
Installation view
article image; primary-color: #767674;
Installation view
article image; primary-color: #9E9A97;
Parker Kay, The Lighthouse, 2019
article image; primary-color: #9EA2AB;
Installation view
article image; primary-color: #D0C6BD;
Parker Kay, This Union is Pliable, 2019
article image; primary-color: #74706F;
Installation view
article image; primary-color: #9EA4A4;
Garrett Lockhart, So much hope I can give, 2019

a short stanza concluding a poem, serving as a dedication or postscript to a prose composition. Or, “the envoi served as a commentary on the preceding stanzas, either reinforcing or ironically undercutting the message of the poem.”

In Ursula K. Le Guin’s The Left Hand of Darkness, an envoy is sent from Terra to another planet, which they refer to as Winter, in hopes of swaying them to join into an existing confederation of planets. Before arriving the envoy spends years learning their language and customs for the maybe obvious reason of avoiding offense. In response Winter receives the envoy and offers certain comforts before the slow and long process of negotiating their presence and solicitations. This exchange is much like the ancient Greek custom of xenia: to unexpected travellers you would show niceties and good faith before asking who they were or how they arrived on your shores or whether they had a plot. Ceremony before purpose. As is with the envoi. The initial contact is the poem, the aesthetic object or gesture, whereas the envoi is the belated plea, the intent that is sometimes only scarcely disguised by its lead. The envoi can be an audacious concession of how the aesthetic often fails to neatly arrive at the point. And yet, synchronously, it reinforces its platform, because, of course, the envoi does not exist without the poem. It is so that the failure to be explicit does not define the aesthetic as a failure at all. Or that sometimes decorum is just foreplay.

> Here the pleas vary, surfacing from different species, vocalities, intimacies. To me, there is a hopeful deterioration that says something about the atemporal drift I feel stuck in. Like living in the split between the before and the after of some decisive (and I can’t help but think cataclysmic) event, still obscured from view.

— Kate Kolberg

17.3.19 — 13.4.19

Sara Kay Maston, Garrett Lockhart, Parker Kay

Curated by Kate Kolberg

SIBLING

'FRESH' by Rune Bering and Kevin Josias at Tableau, Copenhagen

Armen Avanessian: ‘So let us ask, why we still call this a capitalist world?’

'Dream again of better Generationenvertrag' by Niklas Taleb at Lucas Hirsch, Duss

'TOYS' by Jascha Schieche at FONDA, Leipzig

'YOU ARE HERE' by Linda Lerseth at Podium, Oslo

'Space Almond Head Void' by Sasha Auerbakh at GOMO, Vienna

'UwU' by Tea Strazicic at ung5, Cologne

'Friends Objects' by Helin Alas at Loggia, Munich

'Talent Didn’t Bring Me Here' by Günther Möbius at BPA Space, Cologne

'P**** B**** ARENA' by Isabelle Frances McGuire at Good Weather (Hosted by Et al.

'Flat Tire' by Janis Dzirnieks at Robert Fruinstraat 56, Rotterdam

'Sheets of Past and Layers of Reality', a Group Show at Hoib, Tallinn

Garden Cult Triennale, Chapter I: Sopot, Poland

'踢館 Tek Kwun' at Tai Kwun Centre for Heritage and Arts, Hong Kong

'Theological Time, Mean Landscape, Circumcision Throne, Burping Bird, Auto-censur

'More than two eyes' by Eliška Konečná and Michael Nosek at Berlinskej Model, Pra

'Wandering Wind' by Vytenis Burokas at Editorial, Vilnius

'Love Sign', a Group Show at Galerie Noah Klink, Berlin

Next Page