present


Gelare Khoshgozaran | LIKELY MINE

 Eduardo Consuegra | Endless revisions of what will be

Miller Robinson | Sunk

 Jan 25 - Feb 28, 2020

The moments of exposure under surveillance create a photographic possibility to capture the intimacy and tactility of violence as a running current. Curating the objects in a suitcase when traveling is utilizing their entry into a semantic regime—translating bodies to subjects and vice versa—as material to make aesthetic images. All the items used in the creation of the analogue collages, along with the rolls of film used to photograph them for this exhibition, were carried in the artist’s suitcase during an overseas residency, and involuntarily exposed to X-Ray at different international airports. The instances of exposure, captured on digital videos shot through the X-Ray tunnel, manifest only as scarcely brighter pixels in a few frames. The manipulated pixels are used to project a new temporality of exposure into the space of the gallery. Biased algorithms and data organization methods such as Google Alerts, are used to process, archive and sort the news of a subject to the subject itself; in this case uttered by the artist to a machine and recorded on tape. Hundreds of small toy models arranged on the gallery's floor, reproduce an aerial view image of a boneyard.

LIKELY MINE ponders the production of a site through the perception of objects and images. Beginning with the computer screen as a site of artistic research and experience itself, the milky, light-emitting surface works as a backdrop for the arrangement of objects to both document and display on.

In the likelihood of possession, the explosive and the extractable are equally pernicious: LIKELY MINE is dedicated to Daisy, the sanctioned oil tanker.

Some of the research, thoughts and processes that went into the production of LIKELY MINE is accessible and will be shared periodically on https://www.artscabinet.org/.


Gelare Khoshgozaran is an undisciplinary artist and writer who, in 2009 was transplanted from street protests in a city of four seasons to the windowless rooms of the University of Southern California where aesthetics and politics were discussed in endless summers. Her films, video essays, installations and performances have been presented in solo and group exhibitions at the New Museum, Queens Museum, Eyebeam, Hammer Museum, LAXART, Human Resources, Articule (Montreal), Beursschouwburg (Brussels), Pori Art Museum (Pori, Finland) and Yarat Contemporary Art Space (Baku, Azerbaijan). She was the recipient of a Creative Capital | Andy Warhol Foundation Arts Writers Grant (2015) and an Art Matters Award (2017). Her essays and interviews on art, politics and culture have been published and are forthcoming in contemptorary (co-founding editor), The Brooklyn Rail, Parkett, X-TRA, The Enemy, Art Practical, Flat Journal, Ajam Media Collective and Temporary Art Review, amongst others.

In 2015, Visitor Welcome Center and Eduardo Consuegra agreed to co-lease the space in this building that formerly held daily AA meetings. As the AA relocated down the hall, they divided the 1,400 square foot space into two—one for the gallery and one for the artist’s studio. For Endless revisions of what will be, Consuegra’s studio will transform into an annexed exhibition site of VWC, animating the collaborative relationship between the two.

The artist has created an intimate exhibition of paintings, collages, and sculptures. Considering the Modernist conception of autonomous art and medium specificity, Consuegra appropriates aesthetic tropes born from the movement to question the supposed “universality,”  “accessibility,” or “uniformity” of it. Consuegra sees Modernism as a vehicle conceived to prevent cultural specificity and prejudiced misconceptions, and one whose multiple results are revealed through place-specific reinventions. Born and raised in Bogotá, Colombia, Consuegra’s practice stems from both a lived and researched experience of Modernism at large as well as in South America. The continent embraced Modernity’s forward mentality and ideas of progress to redefine itself apart from its northern counterparts and past, grappling with its own perceived identity as it highlighted regional elements and contexts. As Modernity became the prevailing aesthetic social structure in the continent, critics have posited its dissimilar results due to the large and precarious disparity between its ideals and the actual lived experience. The Modernist aspiration to transform life for the better resulted in the uncanny feeling of disassociation and doubt. As Borges described, Modernity in Latin America is not linear; it follows a labyrinthic path, which the artist sees as a sense of wandering loss.


As standardized time created the notion of linear progress, Consuegra reveals technology’s infidelity with time. The artist found an exhibition catalogue from the 1983 Philadelphia Museum of Art show, Design since 1945, and rephotographed the book’s images by distorting them slightly. The technological objects in the catalogue were once the pinnacle of modern design, but many of them have become obsolete and irrelevant. The exercise of rendering these representations that are twice removed—a photograph of the object (the catalogue) and the photograph of the photograph (the artist’s hand)—is an empty meditation in trying to master perfection. The mechanism embodies the moment, but ultimately can’t catch up.

In a continuation of Consuegra’s collage practice, the artist juxtaposes vintage pop culture images from two continents. By making minor cuts on the full pages of the magazine the artist allows for certain parts of the image to be revealed or obscured, provoking a gentle weave that recollects incongruities and politicized approaches to both consumer culture and gender construction. In collaging elements of the two geographies, Consuegra presents a fictional and unsettling experience of distance, diaspora, and desire through the perpetual act of rendering truth through myth.  

Eduardo Consuegra lives and works in Los Angeles. Recent exhibitions include: Facsimile, Obra, Malmö Sweden;  The White Album, Richard Telles Fine Art;  Surface of Color, The Pit; Two Fold, South of Sunset; Perishable Fold, Commonwealth & Council; Black Rabbit, White Hole, Samuel Freeman Gallery; Re-Present, Richard Telles Fine Art:  Flicker, Control Room; Specter, Richard Telles Fine Art; Banquet of the Jackal, Luckman Gallery; On Forgery: Is One Thing Better Than Another?, LAXART; and Second Nature: The Valentine/Adelman Collection, Hammer Museum.

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