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'envoi', a Group Show at SIBLING, Toronto

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Garrett Lockhart, Peace, Freedom, Happiness, 2018
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Garrett Lockhart, Peace, Freedom, Happiness (detail), 2018
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Garrett Lockhart, Misty rose, 2019
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Garrett Lockhart, Misty rose (detail), 2019
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Sara Kay Maston, Ground, 2019
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Sara Kay Maston, Sky, 2018-19
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Parker Kay, I WROTE A NOTE BEHIND THE WALL, 2019
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Parker Kay, A shipwreck Seen From the Air, 2019
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Parker Kay, A Desire Guide for Inverted Mountains, 2019
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Garrett Lockhart, Little sunflower, 2019
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Garrett Lockhart, Little sunflower (detail), 2019
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Garrett Lockhart, Untitled, 2019
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Garrett Lockhart, Untitled, 2019
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Garrett Lockhart, Untitled (detail), 2019
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Parker Kay, Second Lake Island Struck by Lightning, 2019
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Parker Kay, Second Lake Island Struck by Lightning (detail), 2019
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Parker Kay, Jeanette Island, 2019
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Parker Kay, Jeanette Island (detail), 2019
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Parker Kay, The Lighthouse, 2019
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Parker Kay, This Union is Pliable, 2019
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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

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'The Hermit' by Liam Denny at Bus Projects, Melbourne

'dwelling3' by Philip Hinge at 427, Riga

Kubilay Mert Ural at Money Gallery, Saint-Petersburg

'Hard Counter Club', Group Show at Zape, Alboraya

'Discounts' by Egon Van Herreweghe at CONVENT, Ghent

'Never Early but Always On Time', Group Show at Apartment 13, Providence

'Daybreak' by Elisa Barrera at Lucas Hirsch, Dusseldorf

'Hat Box' by Julie Malen at Catbox Contemporary, New York

'19742 Ceremony' by Dishon Yuldash at Daipyat, Voronezh

'STILL MAGIC', Group Show at Redkie Iskusstva, Saint-Petersburg

'Methods for Regional Stewardship' by Will Bruno at Smart Objects, Los Angeles

'In Flames' by Inside Job at Lily Robert, Paris

'Spas Setun Dystopian Party Collection', Group Show at Spas Setun, Moscow

Money Gallery at BIENVENUE ART FAIR, Hotel La Lousiane, Paris

'Ok boomer', Group Show at Plague Space, Krasnodar

Greg Meza at ANDNOW/​WAREHOUSE, Dallas

'Von der schenkenden Tugend', Group Show at Zarinbal Khoshbakht, Cologne

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