It’s been six years since the last ABC Zine was released and for the newest edition The Flop Box has enlisted an all-star cast of eclectic individuals from various backgrounds and generations that includes seasoned veterans to future staples. With no restrictions or parameters given, each artist was free to interpret the first letter of their name however they felt fit, just as long as it remained black and white and was confined to size of a 8.5 x 11 piece of paper. Participating artists include Askew, Baer, Curve, Dmote, Enron, Faust, Gorey, Hindue, Isto, Jase, Kaput, Large, Mast, Noah, Omens, Pure, Quake, Remio, Sp.One, Trixter, Utah, Veks, Wands, Xqsme, Yes2, Zephyr and Vizie.
One night only with original art on display
Kinfolk 94 Wythe Ave. Brooklyn
7PM – 10PM
28 pages, 8.5” x 5.5” high quality black and white printing, hand numbered, hand screen-printed cover, printed in an edition of 400.
Available online at www.theflopbox.com Friday, 1/23 at 12 P.M. EST.
join chad moore and zach sky on a trip to cherry valley, new york where they get a small glimpse into the life of character jack walls – an artist, poet, and downtown icon. having lived through and contributed to some of new york’s most definitive art movements of the last 40 years, jack shares some of his good friends’ work as well as his own, while reminding us that following our hearts through life leaves a fulfilling history, while the other shit can fuck right off.
check out the video on purple magazine
Maggie Lee, John Armleder, Robert Bittenbender,
Valentina Liernur, Marie Karlberg, Sophie Morner,
Lena Henke, Jessie Reaves, Joseph Geagan, Amy Yao,
Wolfgang Tillmans, Bradford Kessler, Cyril Duval
FILM SCREENING starts at 7 and 8pm
Danji Buck-Moore, Henning Fehr and Philipp Rühr
PERFORMANCE starts at 9pm by Jacolby Satterwhite
JANUARY 17TH AT SPECTRUM
59 MONTROSE AVE, BROOKLYN
I LOVED THEIR WORK BECAUSE IT MADE ME WANT TO MOVE (OUT OF THE SCREENING ROOM AND INTO THE VOID). I WAS LUCKY ENOUGH TO ONLY SEE THEIR VIDEOS IN MUSEUMS OR GALLERIES WHERE THEY WERE AT LEAST COGNIZANT ENOUGH TO TURN OFF THE HARSH FLOURESCENT TUBE LIGHTS KILLING ANY HOPE OF A CASUAL OR INTIMATE RELATIONSHIP TO THE WORKS AROUND US. THEIR WORK FELT SO MUCH MORE APPROPRIATE FOR AN EXPERIENCE WITH, LIGHTS, SETS, COSTUMES, LESS IN THE THEATRICAL SENSE THAN IN THE CLUB SENSE. WHEN THE LIGHTS WERE OFF I WATCHED IN AWE, PARTIALLY TRANSPORTED AND PARTIALLY VERY VERY AWARE OF THE LIMITS OF THE SITUATION. REALLY HOPING THE PUNCH IS SPIKED WITH MOLLY… AFTER THE SCREENING ENDED THE LIGHTS RETURNED AND THE SPACE I WAS TRANSPORTED TO ABRUBPTLY ENDED. WE ALL WENT OUT AFTER TO ONE OF THE 10 KITCH OR DIVE BARS THAT ONE EXPECTS TO GO TO AFTER AN EVENT SUCH AS THIS.
FROM WHITE WALLS WITH WHITE LIGHTS TO BRICK WALLS WITH TUNGSTEN YELLOWS AND NEON PINKS UNIMAGINITELY REPLICATED FROM THE CATALOGUE OF AVAILABLE ‘BAR’ AESTHETICS.
I MET NEARLY EVERY ONE I KNOW AT NIGHT. A TIME/PLACE AMONG THOSE WHO SIMULTANEOUSLY LIVED WITH AND IDOLIZED EACH OTHER WITHOUT MOURNING DECADES PAST. A PLAYGROUND OF CAREER AESTHETES, QUEENS (OF ALL VARIETY), INTERNET PERSONALITIES, AND ARTISTS WHOSE WORKS I ONLY WITNESSED IN STERILE ROOMS IF AT ALL – YOUNG AT HEART IF NOT IN SPITE OF YEARS ACCRUED.
I OFTEN FOUND MYSELF WANTING TO RE-VISIT A FIRST ENCOUNTER [NICE TO MEET YOU *KISS, KISS*] – TO FIND THEM IN THE SPACES THAT MOST EMBODY THEIR IMAGINATIVE TOPOS.
I LOVED THEIR WORK BECAUSE THEIR INSTALLATIONS INVITED ME TO PLAY IN THEM – TO DRESS FOR THEM AND GIFT THEM THE POTENCY OF MY INTOXICATION. TO PLAY IN THEIR WORLD AS PART OF IT. REALLY TO PARTY, BUT NOT JUST TO PARTY.
WHAT HAPPENS TO THE WORK WHEN WE COMMUNE AT 1AM? HAS IT ALL DISAPPEARED INTO THE HANDS OF BUYERS OR BEEN RETURNED TO STUDIOS TO BE LOCKED AWAY?
I LIKE THEIR WORK BECAUSE IT ARTICULATES A POSSIBILITY I HAVE YET TO SEE IN THE SOCIAL EXPERIMENT WE INDULGE SO MANY NIGHTS IN AND OUT. THE TEXT ELUCIDATES A REFERENTIAL MATRIX THAT TICKLES MY LUNGS AND UNLEASHES JUST ENOUGH ADRENALINE TO WANT TO CREATE A SPACE THAT I MIGHT EXPERIENCE ALL THE FIRST ENCOUNTERS AGAIN. AS IF THEY WROTE WITH A STAGED WORLD IN MIND. BEYOND GOLDEN OR GILDED ERAS…
THE SPACES I GREW UP DREAMING OF INHABITING WERE DIGITAL – SIMS CLUBS, LABRYNTH AND UNDERWATER WORLD SCREEN SAVERS, PLAY-PLACE STRUCTURES IN FLASH ANIMATED SITES WHOSE CONTENTS TOOK UP TO 20 MINUTES TO LOAD, GEO-CITIES WITH HIDDEN SPACES AND JOURNEYS TO NEW A/V EXPERIENCES IN IMAGE MAPPED COORDINATE LINKS. THE VISUAL, SONIC AND SCULPTURAL POTENTIALS OF A SPACE WERE ALL IN SPITE OF THE CORPORATE EARMARKING OF THE REAL SPACES AROUND ME AND NOW THE SAME IS TRUE OF BOTH.
WHEN I FIRST MOVED TO NEW YORK IT SEEMED LIKE EVERYONE HAD GIVEN UP ON THE ENDEAVOR ALTOGETHER, WITH THE EXCEPTION OF THE NIGHT. YET EVEN HERE, THE FLYER WAS THE AESTHETIC, PRE-LOADED WITH REFERENCES, COORDINATES FOR GOOGLE SEARCHES AND TUMBLR TAGS. YET THE SPACES WERE BARREN, EPHEMERAL: A LASY LASER AND FOG MACHINE.
WHAT WOULD THEIR WORK BE IN NOCTURNAL SPACES WITH DILUTED EYES FIXATED ON IT SURROUNDED BY CIGARETTE SMOKE ON A SWEATING WALL WITH SWEATING BODIES GRIPPED BY OUTFITS THAT GIVE GIFTS TO THE SPACE AROUND IT?
I’VE ALWAYS FELT IT AN EXPERIMENT IN POSTURING ALTERNATE WAYS OF IMAGINING MYSELF. FEELING PUSSY, PERCHED, BUT NEVER PARCHED, DRINK IN HAND I STRETCH INTO AND THROUGH STAR SCATTERED SPACES, WETHER IN BED-STUY, AT HOME SWEET HOME, OR THE SHIFTING STRING OF VAGUELY RECEPTIVE VNUES, PUSHING THE WEIGHT OF MY HIPS, LIMBS AND EXTREMITIES IN SYNCHRONIZED AND ELASTIC MOTIONS, I PRANCE AND LEAPED MY WAY THROUGH A SUPERNOVA REMNANT MADE OF LINGERING BURSTS OF LIGHTWAVES FROM CAMERA FLASHES PAST, REFRACTED THROUGH SHATTERED HANDLES OF WELL VODKA ILLUMINATING AN EXPANDING MASS OF DUANE READE MAKE-UP AND CIGARETTE ASH PUSHED FORWARD BY THE PULSE OF CELESTIAL SUBWOOFERS AND FOREGROUNDED BY A FLOATING MASS OF SHADE FROM SHITTY FAGGOTS, ANGRY BIDDES AND DISENFRANCHISED BROS.
get it all on the STORE
painting passion 4 body count : jesse edwards
Remember the Future
January 8 – February 22, 2015
The Hole is proud to announce the first solo show with the gallery by artist KATSU, Remember the Future. KATSU has participated in thematic group exhibitions in the gallery the past year that have focused on new ways to use technology in painting; however, this January, he stretches out to fill the entire main space with conceptual works in new media. In Remember the Future, KATSU exhibits many diverse pieces—including the Drone paintings he pioneered—that all look at how humans interact with the tools they have created.
more ED here!