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

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Exhibition view
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Jenine Marsh, gap in fence (2), 2019
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Jenine Marsh, scentless flowers, present conditions of change (detail), 2019
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Jennifer Carvalho, Slower and Duller, 2019
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Jennifer Carvalho, Slower and Duller, 2019
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Exhibition view
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Jennifer Carvalho, Bound to the Earth, 2019
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Exhibition view
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Jennifer Carvalho, Time has Fled, 2019
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Jenine Marsh, gap in fence (4) & (5), 2019
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Jenine Marsh, gap in fence (4) & (5) (detail), 2019
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Jenine Marsh, gap in fence (5), 2019
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Jenine Marsh, gap in fence (4), 2019
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Jenine Marsh, gap in fence (4) (detail), 2019
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Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
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Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
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Exhibition view
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Jennifer Carvalho, A Tingling at the Edges, 2019
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Jennifer Carvalho, A Tingling at the Edges, 2019
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Exhibition view
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Jenine Marsh, gap in fence (2), 2019
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Exhibition view
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Jennifer Carvalho, The Stalker, 2019
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Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
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Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
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Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
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Jenine Marsh, scentless flowers, present conditions of change, (detail) 2019
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Jenine Marsh, gap in fence (1), 2019
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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

'Earth Positive', Group Show at Spas Setun, Moscow

'Paris au printemps' by Anders Dickson at TNT, Paris

'NULL' by Anders Holen at Norwegian Sculptors Society, Oslo

'UNDER THE CURSE', Group Show at KALI Gallery, Luzern

'The Accelerationists', Group Show at Projectspace Lokaal, Utrecht

'Œuvres Collectives & Insectes Sélectionnés' by New Scenario at after hours, Pari

'Lauka telpa' by Daiga Grantiņa at Art Museum RIGA BOURSE in collaboration with K

'Ava, Chloe, Blair, Nicole' by Connor Marie Stankard at Lubov, New York

'RE-WORKING VICTORY OVER THE SUN' by Erik Thörnqvist at Final Hot Desert, Bonnevi

'GROUP EGO DEATH YOGA AND MEDITATION' by Bora Akinciturk at Screw Gallery, Leeds

'Thundercage 31' by Matthias Odin and Valentin Begarin at Thunder Cage, Aubervill

'Brown Carpet' by Harley Kuyck-Cohen at Slugtown, Newcastle

'Big Pie' by Anna Taganzeva-Kobzeva at devyatnadtsat gallery, Moscow

'The Remains of Genetic Salon' by Bobby Yu Shuk Pui at Podium, Oslo

'Ultra-gentle manipulation of delicate structures' by Alicia Adamerovich at Proje

'Unfollow you, dark doom, honey' by Nika Temeeva at Spas Setun, Moscow

'NOCLIPLILT' by Rolf Nowotny 
at Simian
, Copenhagen

'Sombre Dimanche' by Julie Béna at Longtermhandstand, Budapest

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