image text special

'Every empire has an end' by Jennifer Carvalho & Jenine Marsh at Franz Kaka, Toronto

article image; primary-color: #D3CFCC;
Exhibition view
article image; primary-color: #C2BBB3;
Jenine Marsh, gap in fence (2), 2019
article image; primary-color: #B1A494;
Jenine Marsh, scentless flowers, present conditions of change (detail), 2019
article image; primary-color: #D5CEC8;
Jennifer Carvalho, Slower and Duller, 2019
article image; primary-color: #866764;
Jennifer Carvalho, Slower and Duller, 2019
article image; primary-color: #D0CCC9;
Exhibition view
article image; primary-color: #6D7977;
Jennifer Carvalho, Bound to the Earth, 2019
article image; primary-color: #BDB8B2;
Exhibition view
article image; primary-color: #ADAEA8;
Jennifer Carvalho, Time has Fled, 2019
article image; primary-color: #8D857A;
Jenine Marsh, gap in fence (4) & (5), 2019
article image; primary-color: #475C71;
Jenine Marsh, gap in fence (4) & (5) (detail), 2019
article image; primary-color: #6C7073;
Jenine Marsh, gap in fence (5), 2019
article image; primary-color: #867F77;
Jenine Marsh, gap in fence (4), 2019
article image; primary-color: #9D8D7D;
Jenine Marsh, gap in fence (4) (detail), 2019
article image; primary-color: #9D8B77;
Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
article image; primary-color: #9B8975;
Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
article image; primary-color: #C5C2BD;
Exhibition view
article image; primary-color: #C9C8C3;
Jennifer Carvalho, A Tingling at the Edges, 2019
article image; primary-color: #627561;
Jennifer Carvalho, A Tingling at the Edges, 2019
article image; primary-color: #BAB5AF;
Exhibition view
article image; primary-color: #BAB2A7;
Jenine Marsh, gap in fence (2), 2019
article image; primary-color: #CAC3BD;
Exhibition view
article image; primary-color: #576780;
Jennifer Carvalho, The Stalker, 2019
article image; primary-color: #9E8C7E;
Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
article image; primary-color: #9C8D7A;
Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
article image; primary-color: #A5937F;
Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
article image; primary-color: #A89787;
Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
article image; primary-color: #D5C6B3;
Jenine Marsh, gap in fence (1), 2019
article image; primary-color: #CEC7C1;
Exhibition view

... In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.

— Suarez Miranda, Viajes devarones prudentes, Libro IV,Cap. XLV, Lerida, 1658 1

Past a signpost, the land is either arid or fruitful. The weeds trail off or grow tall. Their wither or rise battering buildings, and roads, and places to meet. The effects of an event are always first revealed as an ecological crisis. Once under quarantine those coordinates are shaken free of precedent, made ready for late laws and advanced orders. Cordoned parcels planned away from populations where the public becomes private like a veiled work of art - knowing all the while that the public was never public at all. Into the zone like a Stalker. Through a hole in a fence ducked under at nightfall is a border town. Its purpose to quell contingency and keep the status quo from the insurgent. But the site attracts no eyes, so stealth is a luxury.

destruction makes a space  lake of toxic waste  where the zombies grow  in restricted zones

Tattered ruins, where common laws becomes uncommon. Every empire has an end.



1 Jorge Luis Borges, ‘On Exactitude in Science,’ Collected Fictions, translated by Andrew Hurley.

8.3.19 — 20.3.19

Franz Kaka

'Ich und mein Modell' by Cosima zu Knyphausen at Stadium, Berlin

'WALLWERK', Group Show at Nir Altman, Munich

'Chagrin de merde' by Angélique Aubrit, Ludovic Beillard, Hugo Dinër at Etablisse

'From Larva to Ghost' by Victor Gogly at Light-harvesting Complex, Vantaa

Transformella (aLifveForm fed and cared for by JP Raether) in Cinis’ Forking [4.4

'Today could be your day', Group Show Curated by Ali A. Maderuelo and Julia Caste

'God Is in the Details', Group Show Curated by Reilly Davidson at Super Dutchess,

'ANGEL' by Kaspar Müller at NICO, Bari

'Barren Oracle, Breath of Cinders' by Urbain Checcaroni & Hanna Umin, Presented b

'The Garden of my hopes' by Olga Krykun feat. Milica Mijajlovic at Zadní dvorek,

Misunderstanding as a tool. Michele Gabriele in conversation with Zoë de Luca

'Sleep No More', Group Show Curated by Fiona Vilmer & Liza Maignan at Placement P

'Due Pitture Seleniche: paludi xx, Una Fontanaper Lulu' by Alan Stefanato organiz

'Lo Spavento Vinse Il Giorno' by Alessandro Di Pietro at Mega, Milan

'Visibility is a Trap' by Sonja Nilsson at Zarinbal Khoshbakht, Cologne

'This is big big big / This is small small small' by Katerina Sokolovskaya and Ca

'DOG' by Viktor Timofeev at Interstate Projects, New York

'Closer' by Are Blytt at Galerie Alber, Cologne

Next Page