Smart Objects presents Obstacles, a solo exhibition of new work by Derek Paul Boyle.
4.4.14 — 5.9.14
Opening Friday 4.4.14 7-10pm
obstacles are everywhere.
right in the way of whatever it is you’re doing with your time.
and time is an obstacle. work is an obstacle. leisure is an obstacle. gum on the sidewalk is an obstacle.
maybe it’s best to let things get in the way. give in – but really notice them.
to start putting things in the way of what you think is good or right or fun.
change it up.
let everything become a hitch. get hitched, or whatever.
and in that way, everything becomes an obstacle. that’s alright.
if everything is in the way, it just becomes the way.
like making things – constantly forging new obstacles to take over the old ones.
doing a show is an obstacle. documentation of the show in the show.
everything’s in the way of itself, eventually.
my obstacles become yours, if only while you’re here. smart objects.
maybe you’ll trip over one of these works and then it’ll truly be done. or was it done when i thought of it?
either way, obstacles are here.
they keep us moving around.
and looking out.
Derek Paul Boyle is an artist doing things in Los Angeles.
He is into visual contradictions, objects as events, and incompatible states of the self. In a wavering step between angst and serenity, fear and pleasure, he gives form to anxiety, a shape to tension. He proposes an exploration of personal exposure – a record of work that explores the fragment as metaphor, the use and abuse of the body, and the framing of ideas through the tradition of the absurd.
Amalia Ulman: Delicious Works documentation
Smart Objects presents Delicious Works, a solo exhibition of new work by Amalia Ulman.
2.21.14 — 3.21.14
Opening Friday 2.21.14 7-10pm
Ugly Daughter, Mediocre Sister (Rejection is Distracting)
Not even all the plastic flowers in the world will make your house more beautiful or your tits look bigger. Let’s start from there.
Now that we’ve talked about it let’s focus on the glitter sprayed delicately on each petal.
He asked you to make his facebook page. No, it was his Myspace, this happened a few years ago.
You didn’t fuck up but he thought you did and he called you “Useless Female”. We both laughed at the time but soon realized that it wasn’t funny at all.
But now let’s stop talking about the opposite sex, your family never happened. Try to think about all the wonderful things in this world. Think about horses galloping wild and ignore the fact that no one survives to ikea -and try not to think about the meatballs.
And I bet rats have feelings too. If I could, I’d run a marathon carrying scissors to prove it.
Why is everyone naked in here? Or better, why isn’t everyone naked in here?
I just want to make beautiful things even if nobody cares. To bleach my body hair like a Brazilian body builder. To wear coloured contact lenses at home. It’s not you: it’s me.
As soon as breathing exercises weren’t enough to relax, as soon as I had to swallow The cocktail, as soon as I changed you said “You’ve changed”. But I didn’t like dogs either and neither I was in love with you.
The thing is: would you put posters up if I get lost? You once said I’m like a cat and I’d wish you’d treat me like one.
Amalia Ulman (1989, Argentina) lives and works between Los Angeles (USA) and Gijón (Spain). The main focus of her research are class differences and how they affect social interactions, emotions and human relations. Her work analyses social stratification, cultural capital, class imitation and seduction. Her aim is to scrutinize matters such as hierarchies, power relations, charity and empathy. She graduated from the Central Saint Martins School of Art and Design (London) in 2011.
Recent exhibitions include solo shows Savings & Shelves at Headquarters (Zurich), Profit | Decay at Arcadia Missa (London), Moist Forever at The Future Gallery (Berlin) and Promise a Future Marbriers 4
She is one of the panel members of 89+ curated by Hans Ulrich Obrist and Simon Castets for the DLD13 Conference (Munich), curator of MAWU-LISA and designer of the app Ethira (available in the Apple App Store).
She is a feminist.
Documentation of Spencer Longo’s solo show All Access at Smart Objects
I swallow a ginkgo biloba herbal memory supplement with bottled water as I open my aging laptop.
My GoPro camera begins uploading video from the weekend. I share it online.
I send a customer service email to Amazon about a missing package.
I upload my novel to a self-publishing service and wait for the money to start rolling in.
I have All Access.
Smart Objects presents All Access, a solo exhibition of new works by Spencer Longo.
12.12.13 — 1.18.14
Opening Thursday 12.12.13 7-10pm
For All Access, Longo has created a series of works that consider the distribution of product and data as it moves through networked structures and online services. The iconic Amazon.com logo and traditional brick-and-mortar anti-theft devices combine in a wall installation ruminating on the materiality of the rapidly expanding, invisible real-estate of the world’s largest online retailer. The automated, self-publishing service Lulu.com is exploited in a second work, consisting of printed books banned from the Kindle Direct Publishing platform for content deemed illicit by Amazon, and objects confiscated by TSA airport security— specifically items documented and posted to their official Instagram account. A third work brings popular prosumer-grade motion and video recording devices into composition with over-the-counter memory and concentration-enhancing herbal supplements, exploring perceptual shifts aided and altered by live-stream recording and broadcast technologies.
Spencer Longo is a Los Angeles-based artist who uses the architectures and aesthetics of global network services to create objects, images and text reflective of the relationships and patterns native to these structures. In addition, he works collaboratively on projects as a member of The Jogging. Recently his work has been included in Sneakerotics, Edouard Malingue Gallery, Hong Kong; Rematerialized, New Galerie, Paris with Dis Images; Temporary, Perfect Present, Copenhagen; Soon, The Still House Group, New York; Dis Images Stock Photography Series, Suzanne Geiss Company, New York; and Go With The Flow, Favorite Goods, Los Angeles. His work has been featured in Rhizome, Dis Magazine, O FLUXO, and Dazed & Confused.
Documentation of Michael Manning’s Solo Show Bright & Contemporary
Please join Smart Objects to celebrate the launch of Exquisite Corpse, an iPhone App designed by Justin Randall Smith.
Based on the surrealist drawing game, Exquisite Corpse divides your screen into three panes, each containing a separate image, that combine into one seamless image, called a Corpse.
The app comes preloaded with a selection of photos to remix, and new images can be added via the apps integrated camera function, or from ones image library. Each picture can be resized/moved to create the desired final image. Previous pictures are kept in a horizontally scrolling cache so they can be easily swapped in and out. You can copy and paste images from one pane to the other, and a mix button allows you to quickly create random and surprising corpses.
Also on display at the gallery is the Fone Features exhibition
Googlegeist: Mirrors Behind The Curtain (GSV) Online Exhibtion inside Google Street View, of Google Street View-based imagery 2013
Over the past fifteen years Google has grown to become a ubiquitous omniscient entity, which has peered into almost every aspect of our public and private lives. It has documented everything from vast stretches of the earth’s terrain to the most personal emails. The word “Google” suggests a possible answer to almost every imaginable question. Google acts as both all-seeing God and prying Big Brother, a vast repository of objective fact and personal revelation.
Gibson’s Mirrors Behind the Curtain (GSV) reveals the self-censored workings of this all-seeing, all-knowing medium. The screenshots in this Google Street View-based exhibition are rare glimpses of Google’s elusive “Street View” camera, busy at work, virtualizing the interiors of different museums, castles, and institutions of power around the world. Unlike normal Street View though, in which Google’s car and camera have been easily masked out, the museums’ and castles’ plethora of mirrors present a situation where Google cannot cover its tracks. These images are ambivalent portraits of the often invisible, panoptic power of Google’s observation.
As a crown of the exhibit, a Google photographer was paid to virtualize the gallery space— with Mirrors Behind the Curtain screenshots displayed— for inclusion into Google Street View. The GSV version of the gallery is presented within the space, on a desktop computer, acting as a culmination and reiteration of Google’s limitless eye.