image text special

'Cover Me' by Rachel Yezbick at Garden, Los Angeles

article image
Rachel Yezbick, Epicurus’ Conundrum, 2018
article image
Rachel Yezbick, Epicurus’ Conundrum, 2018
article image
Rachel Yezbick, Epicurus’ Conundrum, 2018
article image
Rachel Yezbick, Epicurus’ Conundrum, 2018
article image
Rachel Yezbick, Epicurus’ Conundrum, 2018
article image
Installation view
article image
Installation view
article image
Rachel Yezbick, An Articulated Image, 2018
article image
Rachel Yezbick, An Articulated Image, 2018
article image
Rachel Yezbick, Where are you now? Are you inside?, 2018
article image
Rachel Yezbick, artist pamphlet
article image
Rachel Yezbick, It’s Kind of a Scary Feeling 2, 2018
article image
Rachel Yezbick, It’s Kind of a Scary Feeling, 2018
article image
Rachel Yezbick, It’s Kind of a Scary Feeling, 2018

Garden presents Cover Me, Rachel Yezbick’s first solo exhibition in the United States. Working primarily in video and performance, Yezbick investigates digital surveillance, group identity, and contemporary morals in the face of decentralized global conflict.

Yezbick delves into these themes starting with the central work, Epicurus’ Conundrum, a 45-minute video whose main subject, Dale Brown, is owner and commander of Detroit Threat Management Center. Brown and his private security firm patrol the neighborhood of Yezbick’s childhood where her parents still live. Threat Management Center adopts intimidating paramilitary aesthetics to deter crime and employs de-escalation tactics and defensive martial arts to “deter, detect and defend corporations and communities from both internal and external threats.”1

The video is organized around a dialogue between Yezbick and Brown recorded in Brown’s tactical Hummer during a neighborhood surveillance ride-along. Echoing the form of a Socratic dialogue, the conversation veers from family and regional histories to religious practices, the root of evil, moral beliefs, and understandings of human nature. Interspersed are shots of found footage including base jumping and protests, along with Brown’s own footage of patrolling, officer training, and victim testimonials. Also included are 3D renders of a bust of the artist and the exterior of Garden produced using photogrammetry (a military, forensic, and video game photo mapping technology). The video is housed in a minimal mirrored box, which alone commands the upstairs gallery. During the day, the neighborhood outside is reflected in the mirror while at night, the LED screen itself reflects and multiplies in the windows circling the gallery – holographs floating above the houses outside.

From there, Cover Me expands downstairs into the living room. On the wall is a large digital collage of photogrammetry scans of Yezbick; on the mantle sits a bright blue cast of her rendered and distorted head. During the opening, a performer sits typing at their laptop, describing the scene and reporting on the actions of visitors who enter the room. Their typed observations are projected live on the back of a house next door while across the yard another projection plays text from the crime and safety section of the mobile app NextDoor.

Yezbick is fundamentally interested in the device of the dyad – in her practice, this manifests as a two-person social unit consisting of herself and a subject. Throughout her video and performance work, the viewer is invited to observe and investigate the artist and subject through the collision of their worldviews and the resultant conversation and exchange. In Cover Me, the dyad splits again as the questioner (Yezbick) and interlocutor (Brown) consider the classic dichotomy of the potential for good and evil within the individual. Throughout the exhibition, bodies, personas, and screens are doubled, mirrored, rendered, recorded, and projected. Yezbick explores this landscape of images from a socio-historical perspective that acknowledges racism, sexism and structural inequality. Contemporary surveillance technology produces more digital images of each body than can ever be processed while late-capitalist paranoia breaks subjects into infinite identities and desiring machines. Cover Me operates within this internal and external hall of mirrors, watching our identities-turned-poor-images accelerate and shatter only to be entangled in ever more complex networks.

1 http://www.threatmanagementcenter.com/history.htm

17.3.18 — 5.5.18

Garden

preview image

Aniara Omann at Humber Street Gallery, Hull

preview image

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

preview image

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

preview image

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

preview image

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

preview image

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

preview image

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

preview image

Ieva Putniņa (Kaspars Groševs) – Fat Gnomes (Ears of New Jersey) at Riga Circus E

preview image

'Snowshoe Hare and Allies' by Emily Jones at Almanac, London

preview image

'All the World’s Organ’s' by Mitchell Kehe at 15 Orient, New York

preview image

'So Fresh On Top, So Rotten Below' by Saskia Te Nicklin at Vin Vin, Vienna

preview image

'Sourire aux Anges' by Jean-Baptiste Janisset at Chiffonnier, Dijon

preview image

'Luna Nuova', a Group Show Curated by Edoardo Manzoni and Giada Olivotto at Resid

preview image

'Bodyhunter: Monist Crysis' by Nik Kosmas at Alyssa Davis Gallery, New York

preview image

'Fixed Gear' by Emmy Skensved, Hosted by Superdeals at Château Nour, Brussels

preview image

'Kā skan, Tā atskan', a Group Show at No Moon, New York

preview image

Demise: of a Dream + Smegma at A10, Valencia

preview image

'Love and die' by Tobias Spichtig at CAC-La synagogue de Delme, Delme

More