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'STRANGE STRANGER STRANGLES STRANGLER'

LEWIS TEAGUE WRIGHT

JULY 31 - AUG 15 2013

PRETEEN GALLERY PRESENTS ‘STRANGE STRANGER STRANGLES STRANGLER,’ A SOLO SHOW BY ARTIST LEWIS TEAGUE WRIGHT

STRANGE

THE NOTION OF UNGENERATED PARANOID FIXATIONS SUGGESTS THE SUPPOSITION OF A DISLOCATION OF THE SPATIALITY OF PSYCHOSIS AND ITS GENERATION. THE GENERATING IN ITSELF DISCLOSES THE ACTUALITY OF THE SUBJECT’S SCHIZOID CONFIGURATION. YET, THERE IS A DISTINCTION BETWEEN THE SCHIZOID DIMENSION OF THE SUBJECT AND ITS CONCRETE GENERATION.

STRANGER

UNGENERATED PSYCHOSES SUPPOSE A DEFINITION OF A SCHIZOID OPERATION IN THE SUBJECT WITHOUT CONFINING THE REAL INSTANT WHEN THE FLIGHT OF THE PSYCHOSIS OCCURS. IF THE GENERATION IS THE OUTCOME OF AN UNAMBIGUOUS AFFAIR THAT OPENS UP —PRECISELY OF GENERATION— THE PSYCHOSIS, THEN THE CATEGORY OF UNGENERATED PSYCHOSES ACCORDS WITH THE GENERATION AND ITS ARCHETYPAL CLINICAL CONSEQUENCES SUCH AS DELUSIONS AND DE-REALIZATION. THE NOVEL ARRANGEMENTS OF THE SYMPTOM MAKE MANIFEST THE FREQUENCY OF UNDISCLOSED PSYCHOSES, UNGENERATED, COUNTERWEIGHED, WHERE THESE NEW LOCALIZATIONS OF JOUISSANCE EMERGE AS THE PSYCHOSIS’ IDIOSYNCRATIC MODALITIES OF CESSATION AND REWARD.

STRANGLES

THE CLINICAL SET OF UNGENERATED PSYCHOSES SUGGESTS, IN THIS OUTLOOK, TWO OTHER PRIMARY SETS: THE FICTIONAL REWARD AND REPLACEMENT, IN THE SENSE THAT BOTH ARE STRUCTURED AS PARTICULAR SCHEMATA OF A WARPED FILLING OF THE PSYCHOTIC HOLE.

STRANGLER

REWARD AND REPLACEMENT ALLOCATE IDENTICAL MEETINGS. CONVERSELY, THEY REMAIN SEGREGATED, FOR IF THE ALLEVIATING FUSING MATERIALIZES IN THE REWARD WITHIN AN FICTIONAL RAPPORT OF A NARCISSISTIC NATURE WITH ONE’S CORRESPONDING CREATURE, IN THE CASE OF REPLACEMENT WE ARE SPLITTING THE COMMENCE OF A GENUINE PORTENTOUS PROCEDURE OF UNWARRANTED JOUISSANCE. THUS, REPLACEMENT IS DEPICTED AS A PARTICULAR ARRANGEMENT OF PSYCHOSIS FIXATION MUCH MORE INTERCONNECTED THAN THE ILLUSORY REWARD.

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LEWIS TEAGUE WRIGHT (B. 1987) LIVES AND WORKS IN LONDON. HE HAS EXHIBITED HIS WORK IN ATHENS, STROUD, BERLIN, MYKONOS, NEW YORK, HOOM AND LOS ANGELES. RECENT SOLO EXHIBITIONS INCLUDE 'STELLEN' AT THE DEPOT AND 'FATE OF THE POSTERNS' AT GALLERIES GOLDSTEIN IN LONDON.

'BLOOD ON THE LEAVES BLOOD ON THE ROOTS'

PHOEBE COLLINGS-JAMES

JULY 17 - 27 2013

PRETEEN GALLERY IS PLEASED TO PRESENT 'BLOOD ON THE LEAVES BLOOD ON THE ROOTS', A SOLO SHOW BY PHOEBE COLLINGS-JAMES.

THE SOUL FERMENTING IN MATTER EMBODIES ITSELF IN THE OTHER'S DEATH, WHEREBY A CONCOCTION OF THE ORIGINAL FOUNDATIONS OF THE REAL ARISES (AND IT ARISES, INDEED, VERY MERITORIOUSLY AND POINTEDLY), FROM WHICH, THE YEARNINGS, ARE NOT WHICH, AS WE OBSERVE, THE MENTAL AUTOMATISMS OF THE HYSTERICS (GATIAN DE CLÉRAMBAULT), PROGRESSIONS FROM THE PRIMEVAL SLIME, AND OUT OF THIS PROGRESS, PROTOZOA, AND FINALLY, INTELLIGENT BEINGS, THAT IS, ANIMALS. EVERY NATURAL THING IS BEAUTIFUL.

IT IS WITHIN THIS UNDERSTANDING OF SLIME AS DERIVATIVE OF THE PRIMORDIAL SOUP AND BY WAY OF THE MOLECULAR COMPOSITION OF ORGANIC LIQUID MATTER THAT PHOEBE COLLINGS-JAMES'S ORGASMIC ACTUALIZATIONS OF DETERRITORIALIZING BECOMING-WOMEN ('I AM EVERY OTHER WOMAN') CRYSTALIZE INCONSPICUOUSLY IN A COMPELLING MIMICRY OF MAMMAL FOSSILIZATION.

IN PHOEBE COLLINGS-JAMES'S WORK, BODILY FLUIDS ARE SIGNIFIERS OF A DEATH-PROPAGATING META-FUNCTION, A SUBTRACTION FROM ONE'S OWN BODY AS AN ECHO OF THE OTHER; AN EXPERIENCE OF THE OTHER THAT IS NECESSARILY AN EXPERIENCE OF THE DYING OF THE OTHER; PERHAPS, A DYING WITH[IN] THE OTHER BY WHICH ONE'S OWN LIBIDINAL DISSIPATIVE MOVEMENTS EMERGE IN SUBSEQUENT PLANES OF IMMANENCE AND TRANSUBSTANTIATIONS THROUGH AND WITHIN THE TYING OF THE SOUL TO THE CORPSE IN A GÖDELIAN ALGORITHMIC RATIONALIZATION OF THE SUBJECT; AND THAT WHICH ULTIMATELY ANIMATES IT IS THE RESULT OF A SUCCESSION OF UNSYSTEMATIC DEVELOPMENTS ARISING FROM THE PRIMITIVE ORGANIC MOLECULAR DIFFUSION, THAT IS, THE RESISTANCE OF THE LIVING CELL TO EXTERIOR EXCITATION SUGGESTED BY FREUD IN 'BEYOND THE PLEASURE PRINCIPLE.'

IF ALL THIS DOES NOT SEEM DISCERNIBLE TO US WITH CERTAIN ORGANISMS IT IS FOR THE THOUGHT IS NOT IN A LOCATION TO REFLECT THEM PURELY OBJECTIVELY, AND THUS TO CAPTURE THEIR IDEA, BUT ARE LED AWAY FROM IT BY SOME COMPULSORY CONTRACTION OF PATHOLOGICAL PSYCHIC PHENOMENA, MOSTLY AS THE OUTCOME OF A BLATANT CORRESPONDENCE, E.G. THAT OF RATS WITH MAN, WHEREBY WE DO NOT ARREST THE IDEA OF THE MAMMAL, BUT ONLY THE MISREPRESENTATION OF MAN. THIS DOES NOT, HOWEVER, SUFFICE TO EXPLAIN THE UNBOUNDED REVULSION, THE HORROR AND LOATHING, WHICH COME UPON AT THE SIGHT OF THESE CREATURES, WHICH WOULD SEEM RATHER TO HAVE ITS FOUNDATION IN A MUCH DEEPER AND MORE MYSTERIOUS METAPHYSICAL CONNECTION. EVERY NATURAL THING IS BEAUTIFUL.

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PHOEBE COLLINGS-JAMES (B.1987) WORKS ACROSS PAINTING, SCULPTURE AND VIDEO. SHE HAS EXHIBITED AT MUSEUMS AND GALLERIES IN LISBON, BERLIN, BEIRUT, NEW YORK, MADRID, ATHENS, LOS ANGELES AND GLASGOW. IN 2012 SHE WAS IN 'HIGHER ATLAS' CURATED BY CARSON CHAN AND NADIM SAMMAN FOR THE MARRAKECH BIENNALE. HER WORK HAS BEEN FEATURED IN PUBLICATIONS INCLUDING TWIN, I-D, BRITISH VOGUE, DOSSIER JOURNAL, LOVE, GARAGE AND DAZED & CONFUSED. SHE LIVES AND WORKS IN LONDON.

'I MADE IT THROUGH THE WILDERNESS'

PRISCILLA TEA

APRIL 25 - MAY 25 2013

PRETEEN GALLERY PRESENTS ‘I MADE IT THROUGH THE WILDERNESS,’ A SOLO EXHIBITION BY ARTIST PRISCILLA TEA.

PRISCILLA TEA’S WORK SUGGESTS THE FORMULATION OF A SCHIZO-SPATIAL HYPOTHESIS OF BECOMING. TEA INVESTIGATES SPACE AS AN IDEA, DELIVERING A GENEALOGY OF SPATIAL IMPRESSIONS AND THEIR SYSTEMATIC DEPICTION. SHE DISCLOSES THE TREPIDATIONS OF BECOMING AS SYMPTOMS IN THE SPACE OF PATHOS, ACTIVATING CRITICAL REPRESENTATIONS OF POWER. TEA’S IS THE SPACE OF WHICH THE IMMANENCE OF THE OBJECT ATTAINS A FOLDED TOPOLOGY OF THE RELATION OF DESIRE TO OTHER DESIRES; IT IS THE SPACE THAT ALLOWS THE FOLDING BACK OR RELATION OF DESIRE TO DISAPPEARANCE.

IN TEA’S LANDSCAPES, BECOMING IS STRATIFIED, COMPOSING THE FORMAL TYPES AND SPACES OF THE LOCATION OF DESIRE IN TERMS OF AN ANATOMO-POLITICS OF INDIVIDUALS AND A BIO-POLITICS OF SOCIAL ORGANIZATION. THE SYMBOLIC IS DIRECTED BY SITUATIONS OF EMERGENCE AND THE ARTICULABLE IS DIRECTED BY SETS OF ENUNCIATIONS; THESE LAYERS ARE CONCEIVED AS STRATEGICALLY WOVEN TOGETHER IN A MANNER THAT EXPOSES EACH OF THE TWO STRATA TO THE CONTINGENCIES OF CARTOGRAPHIC POLITICS.

FOR PRISCILLA TEA THE MAPPING OF POWER IS THAT WHICH RELATES DESIRE AND THE DEATH DRIVE TOGETHER VIA ITS SPATIAL PHYSIOGNOMIES AS THE IMMANENT CAUSE THAT DESTABILIZES THE DIFFUSION OF JOUISSANCE. HENCE JOUISSANCE AND AGONY FUNCTION AS BOTH CLASH AND STRATEGY, INTERWEAVING THE IRREDUCIBILITY STRATA OF SPECTRAL VISIBILITIES AND OF PICTORIAL GESTURES. BECOMING IS CARTOGRAPHIC INSOFAR AS DESIRE INCITES, PROVOKES, AND PRODUCES SPACE.

TEA’S GRAPHIC ITERATIONS LEAD TO REVISIONS OF THE MAP; SHE ELUCIDATES IN WHAT WAY WE CAN RELATE TO AND ALTER OUR BODIES THROUGH THE TECHNOLOGIES OF NON-BEING; SHE PUTS FORWARD A HYPOTHESIS OF A NON-REACTIVE FORM OF OPPOSITION THAT IS PRIMORDIAL AND AUTONOMOUS. PRISCILLA TEA’S PAINTINGS IN THEMSELVES ARE FOREVER FATED TO OPERATE WITHIN THE TOPOLOGICAL BOUNDARIES OF THE FOLD. PERHAPS, WE CAN RELATE THE FOLD TO THE EMPTY MIRROR IMAGE OF THE TRANSFERENCE RELATION AND THE UNAVOIDABLE AGONY OF CONSCIOUSNESS.

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PRISCILLA TEA LIVES AND WORKS IN MILAN. RECENT AND UPCOMING SHOWS INCLUDE: ‘GUIDE TO THE GALAXY’, GLORIA MARIA GALLERY (2013); MIART (2012); MUSEO PECCI, (2012); GALLERIA FAC-SIMILE (2012); ANONIMA NUOTATORI, (2012-2013) IN MILAN; AND ARTISSIMA, TURIN (2011); DOLOMITI CONTEMPORANEE, BELLUNO (2011); LA RADA, LOCARNO, SWITZERLAND (2012); ‘THE ETERNAL INTERNET BROTHERHOOD’, ANAFI, GREECE (2012); THE INTERNET PAVILION, VENICE (2011) AND THE THESSALONIKI BIENNALE (2013).

'THE BOOK I READ WAS IN YR EYES THE METH I SMOKED WAS IN YR PURSE'

JEFF ZILM

MARCH 30 - APRIL 22 2013

PRETEEN IS PLEASED TO PRESENT 'THE BOOK I READ WAS IN YOUR EYES THE METH I SMOKED WAS IN YOUR PURSE', A SOLO SHOW BY ARTIST JEFF ZILM.

LANGUAGE STEMS FROM THE UTTER ANGUISH OF SPEECH AND THE DEAD AIR OF THE LETTER. INSTEAD OF DECODING THE UNCONSCIOUS WITH REGARD TO THE SIGNIFIER, JEFF ZILM RELIES ON THE CONCEPT OF CLEARANCE TO THEORIZE THE OPPOSITION BETWEEN CONSCIOUS AND UNCONSCIOUS IN TERMS OF DIFFERENCE AND OF THE INDIVISIBLE SIGN. CLEARANCE IS THE MOMENT OF PASSAGE BETWEEN ONE NEURON AND ANOTHER WHEN EXCITATION SUCCEEDS IN DIMINISHING RESISTANCE TO THE EXTENT THAT EXCITATION FIXES UPON A CLEARED PATH INSTEAD OF COLLAPSING INTO QUANTUM MOLECULAR DISENTANGLEMENT.

ZILM’S WORK EVOKES AN INVENTION THAT ANTICIPATED THE COMPUTER ERA, THE MAGIC SLATE: A GAUZY, WAX-COVERED PLANK BOUND ON ONE EDGE TO, AND COVERED BY, A SHEET OF CELLULOID ON WHICH ONE CAN MAKE AN INCISION AND THEN ERASE THE MARK. THE SLATE PRESERVES AN INVISIBLE MARK WHILE RETAINING THE UNSPOILED BLANK SPACE OF THE WRITING SURFACE. ZILM EQUALS THIS MAGIC SLATE WITH THE ARCHITECTURE OF PSYCHOSIS; FORECLOSURE IS SUBJECT TO INCISION WITHOUT INSCRIPTION AND TO INSCRIPTION CONCURRENT WITH ERASURE. THE LAYER OF CELLULOID DENOTES THE PRECONSCIOUS APPARATUS; THE WAX-COVERED BOARD DENOTES THE UNCONSCIOUS APPARATUS.

BEGINNING FROM THE CONCEPTS OF CLEARANCE AND THE MAGIC SLATE, ZILM DEMONSTRATES THAT THE STRUCTURE OF PSYCHOTIC CONTRAPTIONS CAN BE EPITOMIZED AS A WRITING DEVICE, A METAPHOR THAT COULD ILLUMINATE THE IDEA OF THE INCISION. THE UNCONSCIOUS IS A SUBSTANCE OF HIEROGLYPHIC INSCRIPTION THAT, THROUGH THE MODEL OF DIFFERENCE, REESTABLISHES A TRACE ANTERIOR TO DIALOGIC SPEECH EVENTS OF WHICH HISTORICAL DERIVATION IS CONTINGENT ON DISAPPEARANCE.

ZILM SEEKS TO DISPLACE THE PHILOSOPHICAL DISCOURSE TOWARDS TEXT, EVEN IF THIS IMPLIES OBLITERATING THE BOUNDARY BETWEEN CONSCIOUSNESS AND BRAIN DEATH. HE PLEADS FOR DETECTION OF THE DECEIT, OBSCURITY AND DIFFUSION OF SENSE IN ORDER TO COUNTER THE EXPANSIONISM OF ABSOLUTE INTERPRETATION. CONSEQUENTLY, TO CONCEIVE OF THE FREUDIAN UNCONSCIOUS IN TERMS OF A MYTHOGRAPHY MAKES IT FEASIBLE TO RECOGNIZE A VIEWPOINT OF THE INCISION WITHOUT A SUBJECT, OR OF WRITING WITHOUT CONSCIOUSNESS.

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JEFF ZILM HAS SHOWN HIS PAINTINGS AND VIDEOS IN MUSEUMS AND GALLERIES IN TEXAS AND NEW YORK, INCLUDING THE CONTEMPORARY ARTS MUSEUM, HOUSTON; ANGSTROM GALLERY, DALLAS; THE DALLAS MUSEUM OF ART; TEXAS GALLERY, HOUSTON; THE JEWISH MUSEUM, PAT HEARN GALLERY AND ET AL PROJECTS IN NEW YORK; THE CHINATI FOUNDATION, MARFA; OLIVER FRANCIS GALLERY, DALLAS; AND OTHERS. JEFF ZILM IS AN ACTIVE WRITER AND BOOK PRODUCER. HIS WORK HAS BEEN PUBLISHED BY SEMIOTEXT(E); HE RECENTLY PUBLISHED 'A NULL MODEL', A COMPILATION OF KEYSTROKE DRAWINGS FROM THE 1990'S. JEFF ZILM LIVES AND WORKS IN DALLAS, TEXAS.

SCREENING: 'SOFTROCK III'

ACTUALLY HUIZENGA & SOCRATES MITSIOS

MARCH 22 2013

PRETEEN GALLERY PRESENTS 'SOFTROCK III', A VIDEO PIECE BY LOS ANGELES-BASED ARTISTS ACTUALLY HUIZENGA AND SOCRATES MITSIOS.

WHY DO I KEEP LOOKING AT THE WALLPAPER WHILE SHE IS BEING RAPED? OR THOSE TWO GLASS SWANS. THEY'RE KIND OF KITSCH, AND I'M SURE MY GRAND-MOTHER WOULD HAVE LOVED THEM IF SHE WAS STILL ALIVE. AND THE LITTLE HORSE MADE OF PORCELAIN. NOT TO MENTION THE CHESSBOARD WITH THE CRYSTAL STONE ON TOP OF IT. INTERESTING DETAILS. WHERE WAS I...? OH, YES. RAPE.

- MARCO DEMIAN VITANZA

SOFTROCK III – THE THIRD AND FINAL VIDEO PIECE IN A SERIES BY ART-PROVOCATEUR-COLLABORATORS SOCRATES MITSIOS AND ACTUALLY HUIZENGA – PUTS THE NAIL IN THE COFFIN, AS IT WERE, DRAGGING THE VIEWER INTO THEIR SIGNATURE POP RAPE FANTASIES, SET TO A SOUNDTRACK OF ALLURING HORRORS.

CONCLUDING THE SERIES, THIS FILM DIGS DEEPER INTO A PIT OF SEXUAL VIOLENCE. IT SITS AT THE SAME INTERSECTION OF LOVE, DESIRE, BRUTALITY AND DEPRAVITY THAT ANIMATED THE PREVIOUS FILMS, BUT THIS TIME ITS TWO LEADING FIGURES ARE MARRIED, UNITED BY RITE ONLY TO SEE THE PROMISES OF ROMANTIC LOVE DISINTEGRATE AROUND THEM IN A VISION OF SEXUALIZED VIOLENCE.

THE PRISTINE WHITE OF THE WEDDING IS QUICKLY SMUDGED WITH THE MUD OF A GANG RAPE, MARRIAGE DISSOLVING INTO A HAZE OF SCREAMING AND MARRED NUDITY, WITH HUIZENGA RUNNING NAKED THROUGH THE WILDS OF A NORWEGIAN LANDSCAPE.. THE OMINOUS SOUNDTRACK, WITH ITS LYNCHIAN SCRATCHES AND SNARLS, IS FREQUENTLY INTERRUPTED WITH THE BELTING CRIES OF TERROR AND DESPERATION.

THE TWO ARTISTS SHARE A PENCHANT FOR POLISHED VISUAL FORMS, WITH GORGEOUS OBJECTS AND PEOPLE PLACED IN PERILOUS SITUATIONS – ELEMENTS THAT RUN THROUGHOUT THE TRILOGY. BUT THIS IS NOT BEAUTY FOR BEAUTY'S SAKE – IT IS BEAUTY THAT IS MEANT TO BE DESTROYED, BEAUTY ALWAYS ON THE VERGE OF SADISTIC DESTRUCTION

SOFTROCK III CONVEYS A THICK VISUAL ATMOSPHERE THAT HAS BEEN CAREFULLY CONSIDERED, CONSTRUCTED AND FRAMED. THE ELEGANT VECTORS OF TWO GLASS SWANS, PERCHED JUST ABOVE THE HEAD OF HUIZENGA AS SHE IS FUCKED BY MITSIOS ARE BUT ONE OF THE ODD, EVEN PRECIOUS, DETAILS CAUGHT WITHIN THE ARTISTS' FRAME.THE FILM CONCATENATES FRAGMENTS OF VARIOUS INTERRELATED NARRATIVES, SPLICING TOGETHER SCENES AS IF THE EVENTS ARE BEING EXPERIENCED AS A HALLUCINATION.

- RYAN LINKOFF

ACTUALLY HUIZENGA, BORN AND RAISED IN THE HOLLYWOOD HILLS, SPECIALIZES IN RAW BACCHANALIAN MUSIC VIDEO KITSCH. AS WELL AS DIRECTING, SHE IS A SINGER AND SONGWRITER, AND PERFORMS AS ACTUALLY.

SOCRATES MITSIOS, BORN AND RAISED IN NEW YORK, STUDIED PSYCHIATRY AT NEW YORK UNIVERSITY, AND HAS SINCE DEVELOPED A PHOTOGRAPHIC CAREER. HIS WORK IS INDUCED WITH HALLUCINATORY-IDEALS, A COMBINATION DERIVED FROM THE GREY DEPTHS OF LONDON AND THE SUNNY-POP-PLASTICITY OF LOS ANGELES, WHERE, BETWEEN THE TWO CITIES HE NOW RESIDES.

SOCRATES AND ACTUALLY, AS A VIDEO ART DUO HAVE SHOWN THEIR WORK IN NEW YORK, LONDON, PARIS, PORTO, OSLO, BERLIN, MILAN, AMSTERDAM AND ATHENS.

'LIFE CAN BE SWEET AND AMAZING (BUT IT NEVER IS)'

LUIS MIGUEL BENDAÑA

FEBRUARY 28 - MARCH 26 2013

PRETEEN GALLERY PRESENTS 'LIFE CAN BE SWEET AND AMAZING (BUT IT NEVER IS)' A SHOW BY LUIS MIGUEL BENDAÑA.

LUIS MIGUEL BENDAÑA'S MULTIDISCIPLINARY PRACTICE REVEALS A CONCERN WITH A SET OF INTERMITTENT MOTIFS: MARASCHINO CHERRIES, CAMPY LINGUISTIC COLLOQUIALISMS, TRAMPY MESH NETS AND FLESHLY GLOSS. FLAUNTING A POISED SPONTANEITY AND AN UNRUFFLED BOLDNESS, BENDAÑA DISCLOSES A CONSPICUOUSLY COHESIVE AESTHETIC.

ALABASTER CRASHES DOWN. BENDAÑA'S IS NEVER A PREMEDITATED EXERCISE IN THE VERY COMMON AND TEDIOUS DECEPTIONS OF NOVELTY, REINVENTION AND QUOTATION NOR IS IT A DELIBERATE EFFORT TO BECKON, IN A NOSTALGIC FASHION, THE SPIRIT OF TWENTIETH CENTURY AVANT-GARDES. THROUGH AVOIDANCE OF THE UNIQUE AND THE MIMICRY AT ONCE AND BY VIRTUE OF SINCERITY AND UNAFFECTEDNESS, A SOMBER, SELF-EFFACING YET PROVOCATIVE BODY OF WORK MATERIALIZES.

BENDAÑA SHOWS NO PROCLIVITY TO PONTIFICATE. HE WANTS TO SAY NOTHING IN PARTICULAR, HE SHUTS HIS MOUTH. HE IS NOT HAPPY AND HE’S NOT SAD, HE COULD HAVE BEEN A POET OR HE COULD'VE BEEN A FOOL, HE CAN'T HELP THE WAY HE FEELS. IS IT REALLY SO STRANGE?

SULLEN, PASTEL, GAWKY, TIMID, BENDAÑA'S WARILY MEEK GESTURES APPEAR STRIKINGLY EFFORTLESS. SWEETNESS: IT TAKES GUTS TO BE GENTLE AND KIND. BEAUTY IS TIRESOME; THE HORRIFIC AND THE SUBLIME, UTTER BOREDOM. WHERE DO HIS INTENTIONS LAY? DOES HE EVEN HAVE ANY? SPECULATIVE PRETTINESS, FUNNY POST-MATERIALISM, MACHINIC CUTENESS, ADORABLE NIHILISM, ETCETERA.

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LUIS MIGUEL BENDAÑA (B. 1988) GREW UP IN NEW YORK AND NICARAGUA. HE STUDIED AT THE SCHOOL OF THE ART INSTITUTE OF CHICAGO. BENDAÑA MAKES WORK IN A VARIETY OF MEDIA INCLUDING ANIMATION, FILM, VIDEO, PAINTING, SCREEN-PRINTING, SCULPTURE, MACHINE KNITTING AND TEXTILE DYING. HE IS CO-DIRECTOR OF QUEER THOUGHTS GALLERY (CHICAGO). HE HAS EXHIBITED HIS WORK IN BELGRADE, MADRID, PHILADELPHIA, ATHENS AND MEXICO CITY. BENDAÑA LIVES AND WORKS IN CHICAGO.

'I DIDN'T THINK OF ANYTHING I DON'T KNOW WHAT TO DO'

THEO MICHAEL

JANUARY 31 - FEBRUARY 20 2013

PRETEEN GALLERY IS PLEASED TO ANNOUNCE ‘I DIDN’T THINK OF ANYTHING I DON’T KNOW WHAT TO DO’, A SOLO EXHIBITION BY MEXICO CITY-BASED ARTIST THEO MICHAEL.

A. MAGNETIC MISTAKES

PHOSPHORIC CROSSWINDS AGAINST IDEAS CONCEPTS TACKY SUBJECTS INTELLECTUAL POVERTY OUTDATED FASHION EMBARRASSMENT AND BILLIONS OF TRILOBITES YETI CRAB PSYCHOANALYSIS NAUTILUS YOUTUBING GOOGLEMAPPING ARTHROPODS.

COGNITIVE SUBMARINE: LAWRENCE WEINER SUCKS. ARTHROPOD IN YOUR WATER THE ONLY ANSWER YOU CANT SEE WELL I DON’T KNOW I WILL ACCEPT I ONLY DO THINGS I LEFT TWO QUESTIONS IN THE FRIDGE I DON’T UNDERSTAND AND YOKO ONO SUCKS.

THE AFTER PARTY WAS CANCELLED PLANET WITHOUT LANGUAGE A FALSE SEMBLANCE OF THE REAL PLANET WITHOUT PIZZA A RIGHT SEMBLANCE OF THE UNREAL I AM NOT IMPOSSIBLE DIMENSIONS SYNTAX AND PERCEPTION I DON’T THINK OF THIS IS NOT POSSIBLE THEY CANCELLED PHYSICS PARALYMPIC FLAME SPOT THE NANOTUBE.

B. I CANCELLED THE BEST

CITY IS FULL OF PEOPLE THE FUCK WITH CONSISTENCY IT’S ONE IDEA IT’S NOT CONGRUENT A RIDICULOUS WORLD. IMPOSSIBILITY OF IDEAS INEVITABILITY OF STUPIDITY: ASK A MEMBER OF THE STAFF. RIGHT FAR LEFT EXTREME LEFT EXTREME RIGHT CENTRE EXTREME CENTRIST EXTREME ANARCHIST OR CONSERVATIVE FASCIST OR BOTH OR NONE: EXTREME TOP.

THE RIGHT SIDE OF HISTORY, AMPHIPODS TIME, ARTHROPOD TRUTH ARTHROPODS ILLUSION, DELUSION. BILLIONS OF BARNACLES AND TEN THOUSAND TYPHOONS ECTOPLASM (SPOT THE NANOTUBE): EARTH GRAVITY AIR ELECTROMAGNETISM WATER WEAK NUCLEAR FORCE FIRE STRONG NUCLEAR FORCE VISUAL UPGRADE JUST RECYCLING SOME JUNK AMPLIFIED.

NOTHINGNESS, NOT MUCH JUST A BLOW-UP. INDECISIVE NIHILIST UTTER CONFUSION AND DIGITAL OBESITY. DAWN OF THE SATYR OUT OF THE COFFIN SMOKE MACHINE ASHTRAY; ROCK IN WOODEN STRUCTURE (DAMAGED) ZOMBIE HAND TEXTING (IN GLASS?) THE PLANET OF THE FOOLS NO ONE WILL KNOW FUCK THE INTERNET I’M GOING TO SPACE.

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THEO MICHAEL LIVES AND WORKS IN MEXICO CITY. HE HAS EXHIBITED HIS WORK IN MARSEILLE, DÜSSELDORF, ATHENS, NEW YORK, MIAMI, LONDON, TORINO, BANGKOK, MEXICO CITY AND THESSALONIKI. SELECTED BIBLIOGRAPHY: "INTERNATIONAL DRAWING ANNUAL 6", MANIFEST PRESS; "EXHUMING THE HUMAN", MUTE; "PUBLIC SCREEN" CATALOG, CONTEMPORARY ART CENTRE OF THESSALONIKI AND "PART TIME PUNKS", DESTE FOUNDATION.

'BEER PICNIC (STINK FINGER CLIT)'

CALVIN HOLBROOK

BRIAN KOKOSKA

CARLOS LASZLO

ABDUL VAS

JEFF ZILM

JANUARY 17 2013

PRETEEN GALLERY PRESENTS ‘BEER PICNIC (STINK FINGER CLIT)’, A NEW GROUP SHOW FEATURING CALVIN HOLBROOK, BRIAN KOKOSKA, CARLOS LASZLO, ABDUL VAS AND JEFF ZILM.

ABUSE ME (I WANT TO DIE)

SPECULATIVE CAMP DOES NOT STRIVE TOWARDS RECURRENCE, FOR IT IS NOT DESIRE OF A REAL WHERE OUR CONSCIOUSNESS (BODY) IS MODULATED WITHIN A THREE-DIMENSIONAL COSMIC TOTALITY; A REAL FOREIGN TO THE SUBJECT'S UNIVERSE, WHICH IS NEITHER OUR BECOMING NOR OUR BEING AND TOWARDS WHICH WE WILL NEVER DISPLACE. WE ARE THUS EXERTED TO COMPUTE THE PROBABILITY OF INNUMERABLE EXPERIMENTAL AFTERMATHS AT ANY TIME, GIVEN THE PRELIMINARY FORMULATION.

TEN-YEAR-OLD SLUTS IN THE CITY

THIS FORMAL CARCASS IS REPEATEDLY COMPLEMENTED WITH BITS AND PIECES OF PAST DEPICTIONS OF THE WORLD DERIVED FROM CLASSICAL PHYSICS, BUT INTER-CONNECTED IN AN UNDETERMINED AND INTRACTABLE MANNER. A RECURRING GRIEVANCE IS THAT, AS LONG AS WE ARE NOT LEFT WITH ANY TRULY ARTICULATE REPRESENTATION OF THE WORLD AND OF WHAT WE CALL "METAPHYSICAL DECORATION" COMPATIBLE WITH QUANTUM FEMINISM, THE PREDOMINANT INTERPOLATION OF QUANTUM FEMINISM IS DISASSOCIATED FROM A BRAND OF LACANIAN REFLECTIVE LINGUISTICS.

DOG SHIT

THE INFAMOUS ILLOGICALITIES OF SPECULATIVE CAMP SHOULD NOT BE ENGAGED AS SUBSTANTIATION OF THIS FELT LACK OF COMPREHENSION. YET, FEW OF THE ABUNDANT REPRESENTATIONS OF QUANTUM FEMINIST DYSTOPIAS THAT HAVE BEEN CONVEYED UNTIL NOW HAS GAINED UNDISPUTED ACKNOWLEDGMENT. A TRANSFORMED UNDERSTANDING OF QUANTUM FEMINISM (AND A DISSOLUTION THE SO CALLED "PARADOXES OF SPECULATIVE CAMP") IS GAINED BY WAY OF A BROODING SCHIZO-SYNTHESIS.

I'M GONNA RAPE YOU

CAMP IS STRONGLY UNDERDETERMINED (ESSENTIALLY BETWEEN PARTICLES, FIELDS, OR DEEPER DISPOSITIONS); THERE IS REPETITIVE DELIBERATION AROUND THE MEANING OF NON-LOCALITY; THERE IS FRAGMENTARY DEVIATION ABOUT WHETHER AND HOW ONE SHOULD UNDERTAKE THE MEASUREMENT PROCESS AS A SPACE OF NON-DEPICTION. THE ROADMAP IS THEN AS FOLLOWS: THE FORMULATION OF A REDEFINITION OF SPECULATIVE CAMP IN THE SPIRIT OF RADICAL QUEERNESS SO AS TO MAKE A PARALLEL TRANSFER FOR QUANTUM FEMINISM.

'SHYNESS IS NICE DON'T ASK ME'

JAIME MARTINEZ

OCTOBER 27 2012

PRETEEN GALLERY PRESENTS 'SHYNESS IS NICE DON'T ASK ME', A NEW SOLO EXHIBITION BY MEXICO CITY-BASED ARTIST JAIME MARTINEZ.

APART FROM HIS ONGOING INVESTIGATION ON THE SUBLIME IN THE BLUNT PORTRAITURE OF THE FEMININE BODY, JAIME MARTINEZ'S SHORT PHOTOGRAPHIC SEQUENCES OF NATURAL LANDSCAPES FURTHERMORE SEIZE AND INSPECT THE MALODOROUS, MUGGY MEMBRANE BETWEEN THE AGONIZING BEAUTY AND THE ABYSSAL HORROR OF LIFE THAT DISCLOSES ITSELF BY MEANS OF INTENSIFICATION, TRANSPOSITION, EXPANSION AND REPLICATION OF ORGANIC PHENOMENA. STRIPPING IT BARE FROM ITS BENEVOLENT, MOTHERLY MASQUERADE, MARTINEZ REVEALS THE MURDEROUS AND BRUTAL MONSTER NATURE REALLY IS.

DEATH-GIVING AND UNFORGIVING, MOTHER NATURE IS NOT A CALM AND PEACEFUL SPIRIT. SHE IS THE SPECTER OF CHAOS AND COSMIC PANDEMONIUM INTROJECTED, OUT OF COMPULSION, BY A DESPAIRING AND EXCTINGTING HUMANITY AS THE SOURCE OF BLISSFUL LIFE, FULFILLING CONTINUITY AND WISE EQUILIBRIUM. NATURE, THAT PITILESS BITCH, MAY NOT BE MUCH MORE THAN THE HUSHED SOUNDS OF BLOOD DISCHARGE AND DEATH RATTLE. SHE IS NOT AN INCONSPICUOUS EVIL INSTANCE; HER CRUEL DEEDS ARE CONTINUOUSLY REVEALING THEMSELVES IN RELENTLESS ORGANIC RE-OCCURRENCES AND UNINTERRUPTED MOLECULAR ANNIHILATIONS. THE PERPLEXED HUMAN ANIMAL IS DESPAIRINGLY EXTORTED TO DECRYPT EXPERIENCE WITHIN THE REDEMPTIVE DISPOSITIF OF DELUSION: AN ACCOUNT OF THE REAL THROUGH THE DISTORTING LENS OF GRACEFUL LIFE AND INFINITE BENIGNITY.

'SHYNESS IS NICE DON'T ASK ME' COMPRISES FOUR ANIMATION WORKS THAT DEPICT DISRUPTED STATES IN ENVIRONMENTAL SCENARIOS. IN THESE WORKS, MARTINEZ SUCCEEDS IN CAPTURING THE MOMENTS WHEN THE MOST FAMILIAR AND SEEMINGLY RADIANT FACES OF MOTHER FUCKING NATURE CONTORT AND MORPH INTO THE GENUINE EVIL SMIRK OF AN EXTERMINATING GHOST AND THE OMNIPOTENT DICTATOR OF UTTER DISAPPEARANCE AND COSMIC DISSIPATION.

JAIME MARTINEZ IS AN ARTIST BASED IN MEXICO CITY. IN 2010 HE MADE A SERIES OF ANIMATED GIFS FOR ARTIST M.I.A. AND TRAVELED WITH HER AS HER OFFICIAL TOUR PHOTOGRAPHER. IN 2011 HE WAS COMMISSIONED BY ITALIAN MAGAZINE GRAZIA TO MAKE GIF PORTRAITS OF ANNA DELLO RUSSO. MARTINEZ'S WORK HAS BEEN FEATURED IN PUBLICATIONS SUCH AS DAZED AND CONFUSED, BLEND MAGAZINE, BILLBOARD, ROLLING STONE, NYLON AND VICE. HE HAS EXHIBITED IN SPAIN, GERMANY, UK, USA, MEXICO, GUATEMALA, CHILE, AND ITALY.

'LONDON'S CALLING AND THEY'RE CALLING YOU GAY'

MARCEL ALCALÁ

LUIS MIGUEL BENDAÑA

RODRIGO HERNÁNDEZ

KUBIAT NNAMDIE

LÁZARO RODRIGUEZ

SEPTEMBER 29 - OCTOBER 24 2012

PRETEEN PRESENTS ‘LONDON’S CALLING AND THEY’RE CALLING YOU GAY’, A NEW GROUP EXHIBITION FEATURING MARCEL ALCALÁ, LUIS MIGUEL BENDAÑA, RODRIGO HERNÁNDEZ, KUBIAT NNAMDIE AND LÁZARO RODRIGUEZ.

THIS IS NOT AN APOLOGY: FUDGE

WE WANT TO FREE THIS PLACE –THIS K-HOLE. ‘FUCK CONTEXT!’, KOOLHAAS SAID. THE LOCUS OF ANY-BODY AND ITS OWN SPECIFIC SPECTRES FORM THE FOREIGN SUBJECT, AN INTRUDER. BUT THE MONEY’S NOT GOOD. IT IS ALONG THIS PATH THAT WE PROPOSE TO PACK, TO PACK FUDGE TOWARDS THE LIBERATION OF SEXUAL SPATIALITY. THERE IS INDEED A SEPARATION, ALTHOUGH MEMBRANOUS: I OPRESS MY CHILD BECAUSE THIS “I” IS A PRODUCT OF SOMETHING LIKE WHAT IT IS NOT AND THIS IS WHAT IS OPERATING ACROSS ALL FORMS OF EXPERIENCE: OPPRESSION, FUDGE.

THE SLAUGHTER (WHEN IT’S ACCIDENTAL)

A PROPOSITION, A VISION: PROPOFOL FOR ALL. PROPOFOL FOR WE BUT WHO ARE WE. THE COSMIC TRUTH OF CAPITALISM: CANCEROUS MONEY, CANDY BLING. BLING PRODUCING BLING AND HERE IS BLING ITSELF WITH ITS EVER EXPANSIVE INFLATION, ITS DISSIPATIVE SUBJECTIVATION. BLING CONTROLS THANATOS, IT RE-ORIENTS IT, IT KEEPS IT ALL STRATIFIED FOR IT’S OWN ILLNESS; ITS OWN ORGASM, EVEN WHEN WE CONSIDER A PARTICULAR SEXUAL LOCALIZATION OR A PARTICULAR STRATIFYING MECHANISM IN LARVAE STATE WE CAN SAY THAT EACH AND EVERY NO-ONE HAS ITS NO-BODY WITH(OUT) ORGANS READY TO DISINTEGRATE. THIS IS NOT ABOUT MICHAEL JACKSON.

BUT ARE THEY HUMAN?

ARTIFICIAL COITAL TECHNIQUES HAVE BEEN VASTLY IMPROVED BY ASTROPHYSICS. PLASTIC PENISES FUNCTION AS PLATE GLASS. BUT HOW THE RECTAL SPHINCTER OF THE FEMALE HUMAN ANIMAL CONTACTS AND TERMINATES? PLEASE RETRACT AFTER ORGASM WHILE THE TEXT FLUSH SUBSIDES. HYPERVENTILATION: THE CLASS SYSTEM, PERPETUAL CORROSION. THIS DOES NOT MEAN, OF COURSE THAT TEXTUAL POLYMORPHISM IS INTRINSICALLY CAPITALISTIC. MALE ANXIETIES WILL SOON BE OVER. IN A FEW MINUTES ANYONE WILL BE ABLE TO BUY AN ERECTION. MOANS OF PAIN KEEP FILLING THE AIR – ARE THEY REAL OR IMAGINARY? TO BE WITH BIEBS IS ALL WE ASK.

TO DESTROY TEXTUALITY

TO POINT, NOT TO DRAW A LINE. AN EXCRUCIATING TASK: KANT AVEC SADE. I’M TOO SAD, BUT I’LL TELL YOU.  WE SEEK TO OPEN OUR BODY TO OTHER NO-BODIES. THESE ORIFICES, LET’S DO IT TO ANOTHER ANY-BODY, LET’S TRANSMIT VIBRATIONS; IT’S EASY TO CIRCULATE ENERGIES, TO RE-ARRANGE FRIGIDITY SO THAT EACH IS FREE TO SUPPRESS THEIR FANTASIES. ECSTASY: WE WILL NEVER BE ABLE TO LIVE WITHOUT GUILT. YOU TAKE SOME CHOCOLATE AND YOU TAKE TWO PIECES OF BREAD AND YOU PUT THE CANDY IN THE MIDDLE AND YOU MAKE A SANDWICH OF IT. AND THAT WOULD BE CAKE.

'I JUST WANNA BE AS PRETTY AS I FEEL'

MARIO ZOOTS

AUGUST 30 - SEPTEMBER 26 2012

PRETEEN GALLERY IS PLEASED TO PRESENT ‘I JUST WANNA BE AS PRETTY AS I FEEL’, A NEW SOLO EXHIBITION BY DENVER-BASED ARTIST MARIO ZOOTS.

MARIO ZOOTS’ WORK SCRUTINIZES THE ENDLESS AND COMPLEX SYSTEMS OF CYBER-CULTURE; ITS DE-COHERENT SETS OF INFORMATIONAL MEMES AND UNPREDICTABLE FLOWS OF DATA. HOLDING A STERILE AND SHARP SCALPEL, HE PROCEEDS TO DISMEMBER AND DISSECT THE OMNIPRESENT PHANTASMIC FIGURE OF HORROR WHILE SUGGESTING A DIVERGENT SCHIZO-SYNTHESIS OF POST-HUMAN SUBJECTIVITY.

ACCORDING TO DANIEL LAGACHE’S NOTION OF AUDITORY HALLUCINATIONS AS THE RESULT OF AN ALIENATION OF SPEECH, THE SUBJECT IS HAUNTED BY VOICES THAT CAN ONLY BE HIS OWN, THESE VOICES UTTER HIS OWN WORDS IN SO FAR AS THIS SPEECH IS STRUCTURED IN THE OTHER’S DESIRE, -A DESIRE THAT VIOLENTLY DISLOCATES THE SUBJECT’S UNCONSCIOUS- AND ULTIMATELY, GIVES SHAPE TO HIS ABHORRENT SELF-IMAGE, HIS PUTRID BODY, HIS EQUIVOCAL EXISTENCE; FOR THE ONLY TRUE ACCOUNT OF BEING IS THE ONE GIVEN BY THE SPEAKING SUBJECT AND THE SUBSEQUENT RECOGNITION OF THIS OTHER’S BEING AS ACTUAL BELONGS TO THE REALM OF FAITH; FAITH FUNCTIONING AS A SORT OF SYNTACTIC APPARATUS IN THE UNCONSCIOUS, A FICTIONAL STRAIGHT-JACKET THAT SUPPRESSES THE INDIVIDUAL’S LATENT PARANOID DELUSIONS, HIS IRRECONCILABLE CONFLICT WITH BEING, HIS MADNESS.

EXTRAPOLATING FROM THIS PARTICULAR VIEW OF THE ALIENATION OF SPEECH TO THE PHENOMENA OF VISUAL HALLUCINATIONS AS AN ALIENATION OF SIGHT, THE SUBJECT’S VISUAL INTROJECTIONS OF IMMATERIAL ENTITIES SUPPOSE AN EXCISION OF THE SELF FROM THE REAL, A COLLAPSE INTO THE HORRORS OF THE BRUTAL FATE OF CONSCIOUSNESS: THE PLAGUE OF MEMORIES. THIS OPTICAL DIMENSION OF THE TRAUMATIZING EXPERIENCE OF THE REAL, THIS DISJUNCTION OF THE SELF WHICH ACCOUNTS FOR THE SUBJECT’S EXPERIENCE OF THE INESCAPABLE TRANSPOSITION TO NOTHINGNESS IS WHAT LIES AT THE CORE OF MARIO ZOOTS' VIRULENT AESTHETICS.

‘I JUST WANNA BE AS PRETTY AS I FEEL’ COMPRISES FOUR NEW WORKS ON PAPER. IN THESE COLLAGES, ZOOTS MAPS AND RECONFIGURES THE DETRITUS OF TIMEWORN CULTURAL IMAGERY. HE REVERSES TRADITIONAL ARCHAEOLOGICAL METHODS OF INVESTIGATION. THE RESULTING RECONSTRUCTION DOES NOT PAY RESEMBLANCE TO THE STUDIED OBJECTS’ PAST COUNTENANCE, THUS, ZOOTS PROBLEMATIZES THE ASSUMED HISTORICITY OF THE SCIENTIFIC PRACTICE OF RESTORATION AS A RECONSTRUCTION OF A HYPOTHETICAL PAST.

MARIO ZOOTS LIVES AND WORKS IN DENVER. HE IS CO-FOUNDER OF THE EXPERIMENTAL PUBLISHING PROJECT DRIPPY BONE BOOKS. HE ALSO CREATES THE IDENTITY AND VIDEO ART FOR THE PERFORMANCE COLLECTIVE MODERN WITCH. MARIO ZOOTS HAS EXHIBITED HIS WORK IN DENVER, LOS ANGELES, MEXICO CITY, NEW YORK, SAO PAULO, AMSTERDAM AND BERLIN.

'EVERYTHING WAS MICHAEL BOLTON AND NOTHING HURT'

ANDREAS ANGELIDAKIS

ANGELO PLESSAS

TRAVESS SMALLEY

ELLIOTT WRIGHT

JULY 28 - AUGUST 25 2012

PRETEEN GALLERY PRESENTS ‘EVERYTHING WAS MICHAEL BOLTON AND NOTHING HURT’, A NEW GROUP EXHIBITION FEATURING ANDREAS ANGELIDAKIS, ANGELO PLESSAS, TRAVESS SMALLEY AND ELLIOTT WRIGHT.

AN IDEA OF A NON-EXISTENCE IS BROADLY ACKNOWLEDGED WHEN IT COMES TO THINK OF OBJECTS OF WHICH MANIFESTATION IS PURELY DIGITAL. DECEPTIVELY, THE PERCEPTION OF DIGITAL ENTITIES’ NON-EXISTENCE IN THE PHYSICAL WORLD APPEARS TO BE UNIVOCAL.

IN ‘EVERYTHING WAS MICHAEL BOLTON AND NOTHING HURT’, TAKING AS BASIS A SERIES OF OBSERVATIONS ON THE MEASUREMENT PROBLEM IN QUANTUM THEORY, NOTIONS OF THE ART OBJECT AS PARTICLE AND THE ART EXHIBITION AS SYSTEM ARE INVESTIGATED. IN QUANTUM REALITY, A SYSTEM REMAINS UNAFFECTED UNTIL CONSCIOUSNESS’ PARTICIPATORY ACT ALTERS IT. IN THIS SENSE, A SYSTEM OR CONFIGURATION OF ART OBJECTS AND THE CONSEQUENT INTERPRETATORY ACT OF THE OBSERVER MAY IMPLY A PERPETUAL COLLAPSE OF MEANING AND REVEAL CONSCIOUSNESS AS A DISRUPTIVE AGENT.

THE PHYSICALITY OF THE DIGITAL (THE DISCONTINUOUS) BECOMES UNDENIABLE. OBJECTS EMBODIED IN MATTER UNFOLDING IN FOUR-DIMENSIONAL SPACE, MOVE TOWARDS THEIR ANNIHILATION THROUGH BECOMING-IN-TIME AND QUANTUM ENTANGLEMENT TRANSMATERIALIZATION. THE PERCEPTION OF ABSOLUTE ACTUALITY IS CHALLENGED, BRINGING DIGITALLY RENDERED OBJECTS INTO EXISTENCE IN A STAGED EUCLIDIAN SPACE.

IF UNCERTAINTY AND ABSURDITY LIE AT THE CORE OF WHAT WE CALL PHYSICAL REALITY, SHOULD MEANING BE CONSIDERED AN END OR A MEANS? SHOULD ENDING BE CONSIDERED A MEANS OR -THE END-? IS THERE ANYTHING SUCH AS A FACT AND A CERTAINTY IN HISTORICAL COSMOLOGIES? IS ART NECESSARILY A CONSEQUENCE OF COMMUNICATION OR THE RESULT OF A TOTAL FAILURE OF SUCH?

CONSIDERING FREUD’S OBSERVATIONS ON THE NATURE OF MATTER AND LIFE IN ‘BEYOND THE PLEASURE PRINCIPLE’, ECHOED LATER IN DAWKIN’S ‘THE SELFISH GENE’, ART, -A PHENOMENON BELONGING TO THE REALM OF BIOLOGY- HAS A TENDENCY TO SELF-INVALIDATION, A DRIVE FOR SELF-OBLITERATION. ONCE THE ART OBJECT IS CREATED IT IS INEVITABLY SET IN MOTION. A MOVEMENT TO INSIGNIFICANCE, A TRANSPOSITION TO MEANINGLESSNESS. COULD THE VELOCITY AND THE ACCELERATION OF THIS DISPLACEMENT BE CALCULATED?

IN ‘EVERYTHING WAS MICHAEL BOLTON AND NOTHING HURT’ DIGITAL GEOMETRIES, ARCHITECTURES AND MAPPINGS EMERGE TO FURTHER DISTORT SPATIAL PERCEPTION; THE PRESENCE OF LIQUIFIED LIGHT IN CONSTANT TURMOIL DISTRACTS THE MIND FROM AN ILLUSIONARY STILLNESS. A SOLID OBJECT IN WHICH THE MULTIPLE LAYERS OF MATTER-IN-BECOMING ARE EXPOSED AS RESIDUAL INCONSTANCIES DUE TO SIMULTANEOUS PROCESSES OF MULTIPLICATION AND LOSS OF INFORMATION, SUGGESTS THAT FORM IS POCKETED WITH VOIDS. MATTER IS IN ALL PHASES AT ALL TIMES. MEANING IS DISCONTINUOUS. LANGUAGE IS A BLACK FAG FROM OUTER SPACE.

'PANIC FEAR CRYING FITS'

DONNA HUANCA

JUNE 28 - JULY 25 2012

PRETEEN GALLERY PRESENTS ‘PANIC FEAR CRYING FITS’, A NEW SOLO EXHIBITION BY MEXICO CITY/BERLIN-BASED ARTIST DONNA HUANCA.

DONNA HUANCA’S WORK, ALTHOUGH EMBODIED IN A WIDE VARIETY OF MEDIA, EXPRESSES ONE PARTICULAR PREOCCUPATION, A THOROUGH ENGAGEMENT WITH LINGUISTIC EXPERIMENTATION.

WHILE DELVING INTO ONE OF THE MOST PRIMORDIAL AND COMPLEX SYSTEMS OF COMMUNICATION, THAT OF CLOTHING, HUANCA CONVEYS DISTINCTIVE AND PRECISE OBSERVATIONS ON THE FUNCTION OF THE GARMENT, BOTH AS AN EVER EVOLVING MANNER OF LANGUAGE PRODUCTION AND A TRADITIONAL FORM OF CULTURAL TRANSMISSION.

STARTING WITH THE ASSEMBLED LINGUISTIC UNIT OF THE SINGLE PIECE OF GARMENT, SHE PROCEEDS TO CUT AND RE-ARRANGE, IN A MANNER ANALOGUE TO DADAIST CHANCE OPERATIONS FOR POETRY WRITING. EVERY PATTERN, TEXTURE, CREASE, STITCH, AND STAIN IN A PIECE OF CLOTHING ENCODES A LANGUAGE YET TO BE REVEALED.

WHILE AIMING AT THE CONSTRUCTION OF A LARGER STRUCTURE, HUANCA DISSECTS THE OBJECT’S INHERENT SEMANTICS. IN A NON-DIRECTIONAL, BI-POLAR PROCESS OF DECONSTRUCTION AND COMPOSITION, SHE DETERMINES THE SYNTAX OF WHAT LATER BECOMES HER OWN CODE. HER CAREFULLY ARRANGED TEXTILE SUPERPOSITIONS ARE ALSO LINGUISTIC PERMUTATIONS.

‘PANIC FEAR CRYING FITS’ COMPRISES FOUR NEW SCULPTURES. THE PIECES’ APPARENT SIMPLICITY CONCEALS A COMPLEX UNDERLYING SEMANTIC STRUCTURE WHERE EACH PIECE HAS NO ABSOLUTE MEANING.  IN TURN, THEY DERIVE THEIR MEANING FROM RECIPROCAL DETERMINATION AND THE VIEWERS’ CONCIOUSNESS EFFECT ON THIS PARTICULAR SIGN SYSTEM.

BORN IN CHICAGO, DONNA HUANCA RECEIVED BFA FROM THE UNIVERSITY OF HOUSTON (2004), STUDIED AT STÄDELSCHULE, FRANKFURT, GERMANY, WITH TOBIAS REHBERGER (2009-10).

RECENT SOLO AND GROUP EXHIBITIONS INCLUDE AT ‘NAVIGATING DARKNESS’, TAPE MODERN, BERLIN, 2011, ‘THE MYTH IS NEITHER BAD NOR GOOD…’ AT CCS BARD, ANNANDALE-ON-HUDSON, NEW YORK, 2012 ‘BABY, I LOST MY HANDSHOES’, AT FORUM MAIA, PORTO, AND KEX KUNSTHALLE, VIENNA, 2012

HER WORK HAS BEEN FEATURED IN WIRE, BRITISH VOGUE, F5 MOSCOW, NY ARTS, ARTINFO.COM, ART IN AMERICA, AND THE YOUNGER THAN JESUS ARTIST DIRECTORY PUBLISHED BY THE NEW MUSEUM, NY AMONGST OTHERS.

SCREENING: 'MIND JAMZ - CRACKING THE THIRD EYE OF ANIMAL CHARM’

CURATED BY HAZEL HILL MCCARTHY III

JUNE 23 2012

PRETEEN GALLERY PRESENTS ‘MIND JAMZ - CRACKING THE THIRD EYE OF ANIMAL CHARM’, A RETROSPECTIVE SCREENING OF LOS ANGELES-BASED ART COLLECTIVE ANIMAL CHARM CURATED BY HAZEL HILL MCCARTHY III.

THROUGH THEIR LIVE REJIGGING OF FOUND VIDEO, COLLECTED FROM THE SEEMINGLY INFINITE ARCHIVES OF VHS TAPES, ANIMAL CHARM (RICHARD BOTT AND JIM FETTERLEY) SUBVERT CONVENTIONAL NOTIONS OF THE ACT OF CREATION AND DISLOCATE THE MYTHOS OF THE GENERATION OF MEANING. THEIR TAKE ON DATA REPROCESSING IS OF A RATHER DESTRUCTIVE PROCEEDURE. WORKING ON THE LIMITS OF THE PSYCHOTIC AND THE HUMOROUS, THEY DELIVER NEBULOUS, UNCANNY AND DERAILED RE-CONFIGURATIONS OF THE UNHOLY RECORDS OF WHAT WE CALL ‘THE SUBLIME BLISS OF TACKINESS’.

TAKING AS SOURCES INDUSTRIAL, DOCUMENTARY, CORPORATE AND OBSCURE MUSIC VIDEO FOOTAGE, ANIMAL CHARM’S WORK IS AN EXCERSISE IN DISENTANGLEMENT OF VISUAL AND SOUND CODES AND AN ARCHEOLOGY OF THE AESTHETICS OF THE BLACK BOX TELEVISION AGE. THEIR EXPERIMENTATION WITH JUMP CUTS, BLIPS, JUXTAPOSITIONS OF MICRO-NARRATIVES, DISTURBING REPETITIONS, SUDDEN ERRUPTIONS OF GIBBERISH, SCHIZO-HALLUCINATIONS AND TANGENTIALITY, FUNCTION AS AN ABSOLUTE OBLITERATION OF INTERPRETATION AND POINT TOWARDS A METAPHYSICAL PROPOSITION OF THE FUNNY AND THE CONSTRUCTION OF A PHENOMENOLOGY OF THE FUCKED-UP.

INSPIRED BY THE EARLY MEDIA COLLAGES OF BRUCE CONNER AND CRAIG BALDWIN, ANIMAL CHARM —RICHARD BOTT (B. 1972 LOUISVILLE, KENTUCKY) AND JIM FETTERLEY (B. 1971 ROCKFORD, ILLINOIS)— BEGAN USING FOUND VHS TAPES TO MAKE VIDEO COLLAGES IN 1995. THEY HAVE PERFORMED AND SHOWED THEIR WORK IN CHICAGO, MELBOURNE, NEW YORK, SAN FRANCISCO, PUERTO RICO, MEXICO CITY, AMSTERDAM, LOS ANGELES, VANCOUVER, UTRECHT, BERLIN, KOLIN, ZURICH AND BARCELONA.

HAZEL HILL MCCARTHY III (LOS ANGELES) IS AN ACTIVE VIDEO ARTIST, CURATOR AND CO-DIRECTOR OF THE ART COLLECTIVE SHOW CAVE. HER WORK USES APPROPRIATED MATERIAL TO CREATE RE-COMPOSITIONS THAT TELL NEW STORIES THAT LIE SOMEWHERE BETWEEN TRUTH AND FICTION. SHE HAS SHOWN HER WORK IN AMSTERDAM, BERLIN, LONDON, LOS ANGELES, NEW YORK AND MEXICO CITY.

'A SAD BALLAD'

BRIAN KOKOSKA

MAY 19 - JUNE 20 2012

PRETEEN GALLERY IS PLEASED TO PRESENT ‘A SAD BALLAD’, A SOLO EXHIBITION BY NEW YORK-BASED ARTIST BRIAN KOKOSKA.

A TOBACCO ZONE IS WHITE AND CREAM. THE SIGHT OF NO PUSSY CAT IS SO DIFFERENT. REALLY LITTLE WOMEN.

ANY WET WEATHER MEANS AN OPEN WINDOW, WHAT IS ATTACHING EATING, ANYTHING THAT IS VIOLENT AND COOKING AND SHOWS WEATHER IS THE SAME.

THE CARE WITH WHICH THERE IS INCREDIBLE JUSTICE AND LIKENESS, ALL THIS MAKES A MAGNIFICENT ASPARAGUS, AND ALSO A FOUNTAIN.

A WINDOW HAS ANOTHER SPELLING. A COOL RED ROSE AND A PINK CUT PINK, A COLLAPSE AND A SOLD HOLE, A LITTLE LESS HOT.

THERE IS A TURN OF THE STRANGER. CATHOLIC TO BE TURNED IS TO VENTURE ON YOUTH AND A SECTION OF DEBATE.

IT EVEN MEANS THAT NO CLASS WHERE EACH ONE OVER FIFTY IS REGULAR IS SO STATIONARY THAT THERE ARE INVITATIONS.

WHY WHITE. A BLAND AND LIKELY IN THE STREAM A RECOLLECTION GREEN LAND. WHY WHITE. A LITTLE LEAF UPON A SCENE AN OCEAN ANY WHERE THERE. WHY WHITE.

A BIG DELAY THAT MAKES MORE NURSES. THE LEAST THING MEANS A LITTLE FLOWER AND A BIG DELAY. REALLY LITTLE WOMEN.

AGE NOT PLEASE LAUGHABLE NOT IN LITTLE PLACES NOT IN NEGLECT AND VEGETABLE NOT IN FOLD COAL AGE NOT PLEASE.

IS SUSAN NOT SUSAN. THE SURFACE AND THE CIRCLE AND THE SHINE AND THE SUCCOR AND THE WHITE AND THE SAME AND THE BETTER AND THE RED AND THE SAME AND THE CENTRE AND THE YELLOW AND THE TENDER AND THE BETTER, AND ALTOGETHER.

'A SAD BALLAD' FEATURES AN INSTALLATION OF NEW PAINTINGS BY BRIAN KOKOSKA. KOKOSKA'S WORKS EXPLORE SENSIBILITIES OF PORTRAITURE, MASKS, ANDROGYNY, YOUTH, FETISH, RITUAL AND POST-GENDER IDENTITY. IN THIS EXHIBITION, FOUR CORRESPONDING WORKS ON PAPER INTERACT WITH IDEAS INVOLVING FACES - THEIR RELATIONSHIP TO DISGUISE, THEATRICALITY AND BEAUTY - AND HOW THESE CONCEPTS TRANSLATE TO PAINTING.

BRIAN KOKOSKA IS AN ARTIST BASED IN NEW YORK. HE RECEIVED HIS BFA FROM EMILY CARR UNIVERSITY OF ART AND DESIGN. HIS WORK HAS BEEN SEEN IN ARTUS (LOS ANGELES), V (NEW YORK), WHITEHOT (NEW YORK) AND CANADIAN ART (TORONTO). RECENT SOLO AND GROUP EXHIBITIONS INCLUDE 'BEIGE INFINITY' AT BLANKET CONTEMPORARY ART (VANCOUVER), 'NOTHINGNESS AND BEING SKINNY', BLACK CUBICLE (MEXICO CITY) AND NADA (MIAMI BEACH).

'GOD GAVE ME THIS DICK SO I COULD CUT IT OFF'

CARLOS LASZLO

APRIL 21 - MAY 17 2012

PRETEEN GALLERY PRESENTS 'GOD GAVE ME THIS DICK SO I COULD CUT IT OFF', A NEW SOLO EXHIBITION BY LOS ANGELES BASED-ARTIST CARLOS LASZLO.

CARLOS LASZLO'S WORK DERIVES FROM HEROIN BLACKOUT AESTHETIC RESOLUTIONS, WHISKEY AND COCAINE ROCK AND ROLL MANTRAS AND MARIJUANA DAYDREAM HEDONISTIC OBSERVATIONS ON REALITY, A REALITY HE SUCCEEDS TO CAPTURE AND REGISTER IN A UNIQUE WAY.

A LARGE PART OF LASZLO'S OUVRE COMES FROM DAILY RECORDINGS OF HIS LIFE. HE FILMS HIMSELF AND HIS SURROUNDINGS UNDER THE SUBLIME UNCONSCIOUSNESS OF OPIATES. THEN, ONCE THE STUPOR HAS PASSED, HE EDITS ALL THIS FOOTAGE AS AN EXERCISE IN TIME COMPRESSION OF VISUAL NARRATIVES TROUGH THE DEAD LANGUAGE OF THE MAGNETIC TAPE. IN THE PROCESS OF EDITING OF HIS FOOTAGE, HE SUBVERTS THE STRUCTURE OF ENCODING, STORING AND RETRIEVAL OF EVENTS AS IN THE INFORMATION PROCESSING PERSPECTIVE OF MEMORY.

WHEN HE WORKS WITH FOUND VIDEO, OFTEN MAKING COLLAGES, HE TRANSFORMS EACH SEGMENT AND LAYER OF THE PIECE PASSING IT THROUGH A FILTER OF SIMULTANEOUS ALTERED MINDS STATES. LASZLO'S WORK CONVEYS THE PSYCHOTIC HEIGHTS OF PSYCHEDELICS AS MUCH AS IT EXPRESSES THE JOYFUL LOWS AND ECSTATIC NUMBNESS OF OPIATES.

IN RECENT, MORE SCRIPTED WORK, HE DISSECTS CURRENT EXPRESSIONS OF THE DENIAL OF DEATH AS IT IS EXPOSED IN THE ECCENTRIC AND THEATRICAL SEXUAL AROUSAL CHARACTERISTIC OF MODERN FETISHES.

'GOD GAVE ME A DICK SO I COULD CUT IT OFF' COMPRISES A NEW SERIES OF XEROX PIECES THAT ARE PART OF AN ONGOING STUDY OF BOTH THE LANGUAGE OF MODERN ABSTRACT PAINTING AND 20TH CENTURY POETRY.THESE XEROX PRINTS ARE CREATED FROM THE THE SCRAPS MADE BY THE TEXT GRID GENERATED FOR THE POETRY PIECES. BOTH LITERALLY AND FIGURATIVELY, THEY ARE CREATED BY GAPS IN DATA, AS THE SHADOWS AND DEPTH HAPPEN IN THE ABSENCE OF POSITIVE FORM IN THE XEROX SCAN BED. THEY ARE MADE UP OF THE PARTS OF PAGES OF BOOKS FROM WHICH THE TEXT IS ALL CUT OUT.

CARLOS LASZLO WAS BORN IN LOS ANGELES. HE RECEIVED HIS BFA FROM BARD COLLEGE, NEW YORK AND FROM GOLDSMITH'S UNIVERSITY IN LONDON. HE HAS EXHIBITED HIS WORK IN LOS ANGELES, MEXICO, LONDON, NEW YORK, EINDHOVEN AND MEDELLÍN.

'PLASTIC ONO KUCHI KAIAI'

LAURA BROTHERS

NICOLAS SASSOON

YOSHI SODEOKA

MARIO ZOOTS

MAR/17 - APR/16 2012

PRETEEN GALLERY IS PLEASED TO ANNOUNCE 'PLASTIC ONO KUCHI KAIAI', A NEW GROUP EXHIBITION WITH WORKS BY LAURA BROTHERS, NICOLAS SASSOON, YOSHI SODEOKA AND MARIO ZOOTS.

1. I DIDN'T WANT TO MAKE YOU KNOW FEARING SO BECAUSE OF ME YOU'RE GONNA LET ME KNOW TAKE ME TO THE SKY LOVE HAS GOT ME HIGH.

2. RAIN OR SHINE OR LIFE OR DEATH.

3. TIME TO SHARE FEELING FOR YOU AND HOW IT GROWS SO STRONG YOU TOLD ME THINGS I DID NOT DOT OR EVEN KNOW WE PLAYED, WE LAUGHED, WE LOVED WE SHARED SECRETS OF OUR LIVES.

4. IF HE FINDS HIM IN THIS LIFETIME HE WILL KNOW WHEN HE LOOKS INTO HIS EYES.

5. AND DIDN'T KNOW WHY OH WHY FEELING HIGH, FEELING FOR YOU I WANNA KNOW WHY OH WHY.

6. WHY DO I ROAM WHEN I KNOW YOU'RE THE ONE WHY DO I RUN WHEN I FEEL LIKE HOLDING YOU.

7. IT'S LOVELY LOVE BETWEEN US SHARING WHAT WE HAVE AS ONE LOVERS SOMETIMES DO GET WEARY BUT OUR LOVE SHINES BRIGHT AS THE SUN.

8. IF SHE FINDS HER IN THIS LIFETIME SHE WILL KNOW WHEN SHE PRESSES HER EAR TO HER BREAST.

9. I WANNA KNOW WHY OH WHY I'M FEELING HIGH.

10. WHY DO I ROAM WHEN I KNOW YOU'RE THE ONE WHY DO I RUN WHEN I FEEL LIKE HOLDING YOU.

LAURA BROTHERS' (NEW YORK) WORK IS INTRINSICALLY COMPUTER-BASED. OVER THE PAST FEW YEARS, HER OUTPUT HAS EXPANDED INTO THE MATERIAL REALM THROUGH PRINTED WORKS. SHE HAS SHOWN HER WORK IN EXHIBITIONS IN LOS ANGELES, BALTIMORE, NEW YORK, BERLIN, MEXICO AND MUNICH. HER WORK CAN BE VIEWED ONLINE AT OUT4PIZZA.COM.

NICOLAS SASSOON (VANCOUVER) MAKES USE OF VARIOUS COMPUTER-BASED AESTHETICS TO GENERATE FANTASIZED VISIONS OF ARCHITECTURES, LANDSCAPES AND DOMESTIC ENVIRONMENTS. HE HAS SHOWN IN VARIOUS INTERNATIONAL VENUES AND EVENTS SUCH AS THE MIAMI ART FAIR (US), THE TOKYO ART FAIR (JP), TODAY ART MUSEUM (CN), PORTLAND ART MUSEUM (US), 319 SCHOLES (US), EYEBEAM (US), EVERY LETTER IN THE ALPHABET (CA), CHARLES H.SCOTT GALLERY (CA), TINBOX CONTEMPORARY ART GALLERY (FR), LMD GALERIE (FR), THE BERLIN FASHION WEEK (DE), AND MU EINDHOVEN (NL).

YOSHI SODEOKA (NEW YORK) IS A MULTIDISCIPLINARY ARTIST AND MUSICIAN. SODEOKA'S PSYCHEDELIC VIDEO ART—INFORMED BY HIS BACKGROUND AS A PAINTER, PUNK ROCKER, AND ELECTRONIC MUSICIAN—IS A DYSTOPIAN CLASH OF NOISE AND BEATITUDE. SODEOKA'S PROJECTS HAVE BEEN SHOWN ALL OVER THE WORLD, FROM LONDON'S TATE BRITAIN, NEW YORK CITY'S DEITCH PROJECTS, PARIS' FESTIVAL NÉMO, EDINBURGH'S MU, SÃO PAULO'S ROJO NOVA, BARCELONA'S OFFF, BALTIMORE MUSEUM OF ART, LONDON'S ONEDOTZERO, BARCELONA'S SONAR FESTIVAL, HAIFA MUSEUM ISRAEL, BERLIN'S TRANSMEDIALE, POLAND'S KRAKOW FILM FESTIVAL, WHITNEY MUSEUM OF AMERICA'S ART ARTPORT.

MARIO ZOOTS (DENVER) IS ENGAGED IN THE EXCAVATION, REIMAGINATION AND MANIPULATION OF CONTEMPORARY CYBER CULTURE AND NETWORKED POPULAR CULTURE. HIS IMAGERY PRESENTS A STEADY STREAM OF POP-DATA THAT HAS BEEN ABJECTLY OBSCURED IN SOME WAY, THE CONTENT AND IMAGERY BECOMES HYPERLINKED AND JUMBLED LEAVING VIEWERS QUESTIONING MEDIA REALITIES AND ONES PERCEPTIVE LENS. ZOOTS IS CO-FOUNDER OF THE EXPERIMENTAL PUBLISHING PROJECT, DRIPPY BONE BOOKS. MARIO ALSO CREATES THE IDENTITY AND VIDEO ART FOR THE PERFORMANCE COLLECTIVE MODERN WITCH. HE HAS EXHIBITED HIS COLLAGE AND VIDEO WORKS IN DENVER, LOS ANGELES, NEW YORK, SAO PAULO, AMSTERDAM AND BERLIN.

'FAGGOTS'

DEAN SAMESHIMA

FEB/18 - MAR/15 2012

PRETEEN GALLERY IS PLEASED TO PRESENT ‘FAGGOTS’, THE FIRST SOLO EXHIBITION IN MEXICO OF BERLIN-BASED ARTIST DEAN SAMESHIMA.

DEAN SAMESHIMA’S WORK DERIVES FROM AN ONGOING INVESTIGATION ON POST-STONEWALL POPULAR DEPICTIONS OF HOMOSEXUAL DESIRE, PARTICULARLY THOSE OF GAY PUBLICATIONS THAT CIRCULATED IN THE UNITED STATES IN THE 1970’S.

HIS CHOICE OF IMAGES COMES FROM A TIME WHEN THE GAY COMMUNITY IN THE UNITED STATES HAD MOVED FROM REPRESSION TO CELEBRATION, FROM SHAME TO JOY. A TIME OF AN ON-GOING SEARCH FOR LOVE, NEW FRIENDSHIPS, A FEELING OF BROTHERHOOD, CRUISING, SEX IN PUBLIC PLACES, DRUGS, BARS AND SEX CLUBS. THIS WAS A TIME OF A FLOURISHING SEXUAL REVOLUTION, A TIME BEFORE THE HORROR OF AIDS.

SAMESHIMA APPROPIATES THIS DISTINCTIVE HOMOEROTIC IMAGERY BUT INSTEAD OF PORTRAYING JOY AND OPTIMISM, THE WORK SUGGESTS FEELINGS OF SOLITUDE, MELANCHOLY, AND A LONGING FOR A GLORIOUS PAST. THE SEEMINGLY FREE FLOWING LIBIDINAL PULSION FROM WHICH THESE IMAGES ORIGINATED SEEMS NOW FRUSTRATED AND REPLACED BY AN ANXIETY BROUGHT BY THE THOUGH OF DEATH. IN THIS WAY, SAMESHIMA NOT ONLY COMMUNICATES A PERSONAL STRUGGLE WITH THE EXISTENTIAL VOID AND THE ANGUISH THAT UNDERLIE DESIRE, HE ALSO SCRUTINIZES HISTORICAL NARRATIVES THAT OUTLINE QUEER DESIRE IN THE WESTERN WORLD.

‘FAGGOTS’ COMPRISES FOUR NEW SILK-SCREENS OF SAMESHIMA’S ONGOING CONNECT-THE-DOTS SERIES. THE ARTIST HAS BEEN COLLECTING THESE PUZZLES FROM 1970’S SEMINAL GAY LEATHER MAGAZINE DRUMMER. IF THE DOTS WERE CONNECTED, A SEXUALLY CHARGED IMAGE WOULD BE REVEALED. THE SCANT ABSTRACTION OF THESE PAINTINGS SUGGESTS A POTENTIAL PROGRESSION TOWARDS REPRESENTATION AND ACTIVATES THE ANXIOUS ANTICIPATION THAT CHARACTERIZES DESIRE.

DEAN SAMESHIMA'S WORK IS INCLUDED IN THE PERMANENT COLLECTION OF THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES.

DEAN SAMESHIMA HAS BEEN FEATURED IN ART FORUM, FLASH ART, MODERN PAINTERS, ART IN AMERICA, I-D MAGAZINE, INDEX, FLASH PHOTO, I-D, SOMA, AND THE NEW YORK TIMES. INSTILLED AND LOST, FEATURING SELECTED WORKS, WAS JUST PUBLISHED BY PERES PROJECTS. HE WAS ALSO INCLUDED IN THE CREAM 3, 2003 CATALOGUE AND VITAMIN PH, NEW PERSPECTIVES IN PHOTOGRAPHY, 2006.

DEAN SAMESHIMA CATALOGUES INCLUDE HYSTERIC SEVEN (2002), AND YOUNG MEN AT PLAY, VOL. 1 & 2.

'BENT COCK'

MARCELO KRASILCIC

JAN/14 - 14/FEB 2012

PRETEEN GALLERY PRESENTS 'BENT COCK', A SOLO EXHIBITION BY NEW YORK-BASED ARTIST MARCELO KRASILCIC.

LET'S SIN ON A TIGER SKIN OR IF YOU PREFER WE COULD ERR ON A DIFFERENT FURR MEGA BITES WAS WHAT MY GIRLFRIEND DID AND GIG WAS A SHOW AT NIGHT A RAM WAS A RANDY MAN OR GOAT WINDOWS JUST LET IN THE LIGHT AN APPLICATION WAS FOR EMPLOYMENT A PROGRAM WAS A TV SHOW A CURSER USED PROFANITY AND A KEYBOARD A PIANO MEMORY WAS SOMETHING YOU LOST WITH AGE A DISC WAS ROCK OR BLUES AND IF YOU HAD A 3 INCH FLOPPY YOU'D BE PEEING ON YOUR SHOES LOG ON WAS FUEL ON THE FIRE HARD DRIVE WAS TO INVERNESS A MOUSE PAD WAS WHERE A RODENT LIVED AND A BACK UP AN AWFUL MESS CUT YOU DID WITH A POCKET KNIFE PASTE YOU DID WITH GLUE A WEB WAS WHERE A SPIDER LIVED AND A VIRUS WAS THE FLU.

MARCELO KRASILCIC IS A BRAZILIAN AMERICAN ARTIST BORN IN SAO PAULO. HE MOVED TO NEW YORK IN 1990 TO STUDY ART AND PHOTOGRAPHY AT NEW YORK UNIVERSITY.

SOON AFTER GRADUATING FROM NYU, HE STARTED EXHIBITING HIS ART WORK AND CONTRIBUTING TO THE EARLY EFFORTS OF MAGAZINES SUCH AS PURPLE, DAZED & CONFUSED, SELF-SERVICE AND VISIONAIRE.

MARCELO CONTINUES TO LIVE IN NEW YORK, AND HE TRAVELS EXTENSIVELY WORKING IN-BETWEEN THE FIELDS OF ART, PORTRAITURE AND FASHION.

'SOMETHING TO DANCE TO'

LANDON METZ

SEP/24 - NOV/15 2011

PRETEEN IS PLEASED TO PRESENT ‘SOMETHING TO DANCE TO’, AN EXHIBITION BY NEW YORK-BASED PAINTER LANDON METZ.

TIGHT FADED MALE ARSE DECADENCE AND ANARCHY HE SAID HE SMILED SOMETHING TO DANCE TO A CERTAIN STYLE SMILE SMILE SMILE SMILE MEAT ANIMALS SMILED SMILED PATCHWORK JACKET FROM THE TOP OF HIS EARS SHAVED RELATION WITH FELLOW AGE GROUP AND OPPOSITE BIRDS SMILES WANTS ANARCHY SMILED THE CLUB NERVE AND POSES PHYSICAL AWARENESS SMILES TAKE THE CHICKEN RUN TAKE THE CHICKEN RUN TO THE TOILET IN THE ABOVE DESIGNED FROM ABOVE CLUB MAKES GINGER GO ON YOU CAN DO IT SMILE SMILES WANTS ANARCHY SMILED IS THE FUNGUS DAMP IN THE CELLAR POSITIVE G B H SMILES WITH HIS FRIENDS ASK FOR CIGARETTES SMILES SPARKS OFF REPEAL GUN LAWS IN MY BRAIN SPARKS OFF GIVE US A GUN IF I GOT ONE DAMN GRIN DAMN GRIN UP UP UP UP UP UP UP UP UP UP SMILE SMILED WOULD ASK FOR A LAGER IN THE TOWN OF AUSCHWITZ SMILES DESIRES TRAVEL WELL FED IN A WELFARE WAY SMILES SMILED SMILES LOUSY CELEBRITY MAKES JOKE RECORD LICKSPITTLE SOUTHERNER WAITING FOR NEXT HOLIDAY BY GAS MISER SMILES SMILES POSITIVE G B H ROAR ENCORE SPECIAL VEXATION PROCESS WELL FED IN ROMAN NERO WAY LIKE THE WAY YOU IMAGINED IN THE ROMAN AND NERO KODAK FILMS.

'EVERY WEBSITE IS A MONUMENT: MEXICO CITY'

ANGELO PLESSAS

JUL/30 - AUG/25 2011

PRETEEN IS VERY PROUD TO ANNOUNCE ‘EVERY WEBSITE IS A MONUMENT: MEXICO CITY,’ A SOLO EXHIBITION BY ATHENS-BASED ARTIST ANGELO PLESSAS.

IN HIS WORK, PLESSAS COMBINES ANIMATED DRAWINGS WITH DOMAIN NAMES TO CREATE WEBSITES. HE TREATS WEBSITES AS PLACES WHERE WE CAN IMAGINE MEANING AND EXPERIENCE OBJECTS, THE SAME WAY WE CAN ADMIRE A SCULPTURE IN A PUBLIC SPACE. THIS BECOMES PARTICULARLY URGENT AT A TIME WHEN THROUGH LIVING PART OF OUR LIVES ONLINE, WE QUESTION AND OFTEN BLUR WHAT IS PRIVATE AND WHAT IS PUBLIC. VISITING A WEBSITE BECOMES AS PUBLIC AS VISITING A TRADITIONAL MONUMENT. AT THE SAME TIME HE IS FASCINATED WITH TRADITIONAL MONUMENTS BECAUSE THEY ENGAGE US WITH SYMBOLS OF NOSTALGIC TENSION. IN THIS WAY WEBSITES SUGGEST A NEW KIND OF MONUMENTALITY WHERE NOTIONS OF CLASSICAL TIME AND SPACE ARE BEING QUESTIONED.

'A 21ST CENTURY IDEA OF UNHAPPINESS'

CURATED BY ÓSCAR BENASSINI

IAIN BALL

MICHELLE CEJA

HOPE

ADAM JACONO

EMILY JONES

MAY/28 - JUL/28 2011

PRETEEN GALLERY IS PROUD TO PRESENT 'A 21ST CENTURY IDEA OF UNHAPPINESS,' SHOWING THE WORKS BY IAIN BALL, MICHELLE CEJA, HOPE EPOH, ADAM JACONO AND EMILY JONES.

CONTEMPORARY CULTURE WISH FOR OBJECTS CRITICISM, ALIENATION, HUMAN FAITH IN MACHINES AND MULTINATIONAL CORPORATIONS, GOOGLE AS AN ORACLE, THE REVITALIZATION OF ANCIENT SPIRITUAL ART ICONOGRAPHY THROUGH SOFTWARE INTERVENTION MAKE UP 'A 21ST CENTURY IDEA OF UNHAPPINESS.' A YOUNG, VULNERABLE, MISINFORMED CENTURY IN CRISIS BORN ON 9/11.

'SO WET'

PETRA CORTRIGHT

APR/16 - MAY/25 2011

PRETEEN IS PLEASED TO PRESENT 'SO WET,' A SOLO SHOW BY INTERNET ARTIST PETRA CORTRIGHT.

SANTA BARBARA´S  ONSHORE BREEZE, WARM WINTERS AND COOL SUMMERS, POST-DUCHAMPIAN, POST-FORDIST, POST-CONCEPTUALIST AND POST-INTERNET ARTISTIC PRACTICES, SURREALISM, ABSTRACT EXPRESSIONISM AND WET DREAMS SHAPE 'NIGHT HEAT', THIS NEW SERIES OF DIGITAL LANDSCAPES BY PETRA CORTRIGHT.

UNUSUAL TO HER PREVIOUS ONLINE WORKS -MOSTLY WEBCAM VIDEOS- NOW THE ARTIST EXPLORES OFFLINE TERRITORIES TAKING TIME TO DO SOMETHING OUT OF CONTEXT, A LACK CHARACTERISTIC TO HER GENERATION: THINKING ABOUT PERSONAL IDEALS. NIGHT HEAT ALSO CONFIRMS A CONTEMPORARY THINKING BEAT FIRST INTRODUCED BY ARTIST PARKER ITO, “THE HAND IS DEAD”.

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