One/Thinking Two/Willing
organized by Dawn Light Blackman
30 April - 19 May 2016
Opening Reception: 30 April, 6 - 8 pm

Press Release

List of Works
Installation Views

...

Press Release

kijidome is pleased to announce the opening of One/Thinking Two/Willing, an exhibition by Adam Marnie and Matt Wycoff organized by Dawn Light Blackman, on view from April 30 through May 29, 2016.

I remember when the world lived backside front.
We let our back bodies1 negotiate, and though they could not see clearly from the front, we trusted that they had our best interests in mind. The back body was not interested in seeing. Feeling was paramount. The front body, though it could see, was no longer in the driver's seat. Over time, the front body’s sight became passive. In the shadow of the back body it relinquished its apparent form. The back body is tousled hair.

The back body, living backside front, is a fiction of personal space.
The back body pressed to a wall feels the surface as landscape. The front body, unaware, moves forward, presenting sharp and smooth lines. The bodies, front and back, are sweating. Interiors bubble up unseen, echoing softly. The sculpture's facade is straight. History arrives and the sculpture bends. The front body leans, its head twisting to meet the back body, fingers searching. The front body loses sight. Now the wall’s surface is a portrait, its appearance held by the back body, hung on the wall: a borrowed photograph. Aliases index anonymity. A sculpture in parenthesis, original intentions brace to take a blow.

I wonder about the life of the back body–the hidden structures that direct us to breathe, and silently propel us forward, the invisible architecture of the organs, tireless in their toil, propping up the skin, the face, and the voice for the apparent world. What do we owe the labor of our organ’s invisible hands? The bounty of their service is the “appealingness” of the world, to be seen and heard by other seers. But I am more curious about the outliers, hidden by the limitations of our front body’s sight: the nape of the neck seen obliquely from an angled mirror, the spine between the shoulder blades, the brain and the ovaries. I have never heard a back body speak or face front forward. It remains, as it began, a relationship of shadows and strained looking. Touch becomes the back body.

The back body, living backside front, is a fiction of authorship.
The back body does not step forward. It waits for the front body to make its move, to find position. The back body has never been a presentation, will never be a representation.

________________________________
1 The idea of the back body originated from Hannah Arendt’s The Life of the Mind, (Harcourt, Inc., 1971). [DLB]

...

Adam Marnie’s recent exhibitions include Construction/Destruction, Galerie Almine Rech, Paris, and Rongwrong at the Elaine de Kooning House in East Hampton, NY. In 2015, he organized the group exhibitions Fictions at Derek Eller Gallery, New York, and SYLVIA BATAILLE at JOAN, Los Angeles. He is publisher and editor-in-chief of F Magazine. Marnie lives in Los Angeles.

Matt Wycoff is a MacDowell Fellow and the recipient of studio fellowships at the Bemis Center for Contemporary Arts in Omaha, NE and The Urban Culture Project in Kansas City, MO. He has recently exhibited his work at Derek Eller Gallery, New York, Vanity Projects, New York/Miami, and JOAN, Los Angeles. His short fiction has been published in the Washington Square Review. Wycoff lives in Brooklyn.

Dawn Blackman is an artist living in New York City and Los Angeles.

...

List of Works


Adam Marnie, Rites of Passage, 2015, hardwood maple, spray paint, wood putty, 63 x 3 x 3 inches


Aura Rosenberg, Scene #8, 2014, acrylic paint, inkjet print on gold metallic photo paper mounted to disband, 10 1/4 x 6 7/8 inches


Adam Marnie, Object, 2011-2016, wood, corner bead, wall compound, latex paint, 21 3/4 x 21 3/4 x 21 3/4 inches


Matt Wycoff, Arthur Greenberg, 2015 , silver gelatin print, 13 x 15 1/2 inches


Matt Wycoff, Untitled, 2015, Left: Douglas Huebler, Untitled, oil on plaster relief on panel in artist's frame, 1959, 24 x 30 inches; Right: Matt Wycoff, Color field painting loosely inspired by color I see during orgasm, oil on canvas, 2006, 72 x 72 inches


Adam Marnie, (Twice Split and Bound) Sandy Merzbau, 2011-2012, painted wood, glass, plywood, rope, 24 1/2 x 24 1/2 x 24 1/2 inches


Matt Wycoff, Untitled, 2016, acrylic on canvas and oil on New Yorker magazine tears, 35 x 32 inches


Matt Wycoff, Untitled (with Barry Le Va and Hermann Kitsch), 2016, Barry Le Va's Installation Floor Plan For Any Space Surrounded By Four Walls and silver gelatin print of Hermann Nitsch performance, 1971, 35 x 12 inches

...

Installation Views


One/Thinking Two/Willing, Installation View, 2016


One/Thinking Two/Willing, Installation View, 2016


One/Thinking Two/Willing, Installation View, 2016


One/Thinking Two/Willing, Installation View, 2016


One/Thinking Two/Willing, Installation View, 2016