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'Games of Ceres', a Group Show at King's Leap, New York

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Sophie Friedman-Pappas, Quicksand Above Cupid's Crib, 2018
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Sessa Englund, Troll pair series # 18, 2018
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Joseph McGehee, Chunk of Old Earth B, 2018
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Sessa Englund, Troll pair series # 17, 2018
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Joseph McGehee, Chunk of Old Earth A, 2018
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Vincent Castro, My Arms Ooze out of my Shoulder, 2018
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Juan Alvear, Bronze Heel with Nail Extension, 2018
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Vincent Castro, Cord, 2018
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1. INHERENT VICE

In the language of library & archival science, inherent vice is the tendency of materials to deteriorate due to the fundamental instability of the components of which they are made, as opposed to deterioration caused by external forces. Everything has some kind of inherent vice as a result of the baseline law of entropy. Thus, to archive something is to create an index of loss-–a recognition of a future disappearance––and to halt progress in its tracks. The archive becomes the antecedent to entropy, a way of holding onto what’s not yet been lost, a manipulation of time and recognition of the “slow cancellation of the future.”

2. ON CERES

1801 marked the discovery of the first asteroid known to humankind. Large enough to be considered a dwarf planet, Ceres is made up of a rocky surface painted with ice formations and carved with series of craters and impact sites from contact with other asteroids. The surface is rife with tension, with cryovolcanic events often occuring. Ceres is one of the few bodies in our solar system that has the potential for it own independent organic life; the dwarf planet has a remnant internal ocean buried beneath the layers of ice, above its mantle.

Ceres, at 945 km in diameter, is 200,000 times larger in mass than Chicxulub, the last major asteroid to come in contact with the Earth 66 million years ago (and causing the mass extinction of the dinosaurs). If Ceres was to come in contact with the earth all traces of our civilization–– as well as all existing complex life––would be completely obliterated.

3. TOWARDS A SPECULATIVE ECOLOGY

To imagine an human-centric ecology of the future is to extend the earth beyond its uncertain trajectory, and to speculate that existing man-made institutions of organization will further exist. Humanity seeks extension, in the immediate through the development of new technologies and power structures to build upon the existing human physicality--Grosz writes that “living bodies tend towards prosthesis,” to say that the inherent entropy of the human body creates a desire for these extensions to accelerate the self (individual and as a species) into immortality. What’s lost, though, in this tempest of progress and promise of extension, as well as the common critique of manmade ecologies of language, power, and capital, is a recognition of the failing ecologies that exist outside of the man-made, or the imminent threat of extinction by way of climate change or cosmic mishap. 

It’s not in the consideration of objects as subjective through which a speculative ecology can be approached, but by understanding and examining the organic materials that make up things (including the physical body) external to human thought and agency.

13.6.18 — 13.8.18

Juan Alvear, Vincent Castro, Sessa Englund, Sophie Friedman-Pappas, and Joseph McGehee

Organized by Lauren Studebaker

Photo by Jason Mandella

King's Leap

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'Halo in a Hayloft' by Noel Freibert at Lubov, New York

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'A SCENARIO FOR A SILENT PLAY' by Sébastien Rémy at Les Bains-Douches, Alençon

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'Leona, Leone' by Bea Fremderman and Loreta Lamargese at La Kaje, New York

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'Taken and martyred by strangers' by Jakub Glinski at Town Culture Centre, Gorzów

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'It moves and it shouts', a Group Show at Haus N Athen, Athens

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'Galvanic Couple' by Irina Lotarevich at Futura, Prague

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Katja Novitskova at Hamburger Bahnhof, Berlin

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Aniara Omann at Humber Street Gallery, Hull

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'Barry Walking Himself' by Anastasia Sosunova at Kogo, Tartu

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'Feed Me Like a King' by David Nosek at Gallery 207, Prague

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'SAW U' by Vika Begalska and Aleksandr Vilkin at Foundation of Smirnov and Soroki

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'Verharzungen' by Max Negrelli, Yana Tsegay at The Reference, Frankfurt am Main

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'A Rigged and Sudden Machinery' by Stefan Schwartzman
 at MX Gallery, New York

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'TFW Too Intelligent' by Kid Xanthrax at Galerie U Mloka, Olomouc

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