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FIRST ALIENATION
March 29 - April 26, 2025

PRESS RELEASE

Timeshare ĝojas anonci First Alienation: grupa ekspozicio kun verkoj de Anthony Discenza, Chase Barnes, Kelley O’Leary, kaj Nancy Holt & Robert Smithson. Organizite ĉirkaŭ la “Swamp” Unua Fremdiĝo de Holt & Smithson konsideras bild-bazitan praktikon, legeblecon, kaj la streĉitecon inter lingvo, bildoj kaj materiala realeco.

Kiel Flusser deklaras, “la bildo transformas la mondon en scenon.” Sed, la bildo kreskas en graveco ĝis ĝi eklipsas la mondon, kiun ĝi prezentas. Tiu inversio influas profundan fremdiĝon, en kiu la bildo ne plu klarigas sed limigas.

“Swamp” de Holt & Smithson estas la produkto de la artistoj trairante densan Nov-Ĵerzejan marĉon dum filmado de ĉi tiu renkonto. Holt provas navigi la pejzaĝon tra la celilo de la fotilo, gvidita per vortaj signalvortoj de Smithson. Kion la spektantaro atestas estas unu-al-unu simulado de kion Holt travivis - amasoj de vostoj kaj marĉherbo preterpasas la kadron kiam Smithson instrukcias ŝian movadon.

“Burn Rate” de Anthony Discenza konsistas el disa amaso de 4 x 6” brilaj presaĵoj, ĉiu sinteza bildo prezentanta hejmajn internojn en diversaj statoj de malordo kaj detruo. Alvokante la vulgaran formaton de la apoteka presaĵo, la laboro de Discenza manifestiĝas en konata fizika formo, imbuante la bildojn per sento de legitimeco.

En “Mars Door”, Kelley O’Leary transprenas foton prezentantan perceptan anomalion kaptitan fare de Mars Rover Curiosity en 2022. Cirkulante rete, la foto portretas kio ŝajnas esti pordo ĉizita en kliffacon, sugestante longe atenditan konfirmon de inteligenta ekstertera vivo. Ĉi tiuj estas ventrifaktoj - ŝajne homfaritaj artefaktoj kiuj estas fakte la kromproduktoj de la abrazivaj ventoj karakterizaj por la arida medio de Marso, eroziante ŝtonojn sur ĝia surfaco en facetajn mediajn skulptaĵojn. O’Leary manipulis ĉi tiun bildon per serigrafio per grafitaj infuzitaj inkoj kaj fragmentigante ĝin tra pluraj sekcioj.

“E-Paper Displays” de Chase Barnes estas serio de monokromataj bildoj elmontritaj sur dekonstruitaj elek- tronikaj paperpaneloj. Tiuj fotoj prezentas amorfajn spacojn kiuj intervalas de refotita oficeja estrarejo ĝis la malplena kajuto de la Unabomber. La fotoj estas punktitaj per moiré-similaj Photoshop-anomalioj kiujn Barnes travivis dum la produktado de tiu laboro. Elektronika paperteknologio formas bildojn rearanĝante ŝarĝitajn pigmentpartiklojn kun aplikata elektra kampo, kaj poste tenas tiujn bildojn dum malkonektita de energifonto.

Ĉi tiu gazetara komuniko estis verkita en pure priskriba maniero kaj tradukita al Esperanto, la ĉefa “konstruita” helplingvo de la mondo. Kreita kun la celo forigi lingvajn barojn kaj la agonion de komunikado, Esperanto estis idealisma en sia celo kreskigi la mondan pacon kaj malfari la malbenon de la Babela Turo. Eble la falo de Esperanto en obskurecon ŝuldiĝas plejparte al la adopto de bildoj kiel universala lingvo. La malrapida teda teksto ne taŭgas por la deloga surfaco de la bildo kaj ĝia kapablo tuj komuniki, kiom ajn simpla aŭ trompa ĝi estus. Simile la ŝablono de la ekspoziciafiŝo estis lasita forestanta de bildo.

ARTIST BIOS:

ANTHONY DISCENZA

Anthony Discenza (b. New Brunswick, NJ) is an interdisciplinary artist interested in the tensions between textual and visual systems of representation, as well as the embedded metanarratives that shape perception and experience in contemporary culture. Over three decades, his work has evolved through many phases, encompassing his role as one-half of the collaborative entity HalfLifers, his solo video work, various text and language-based projects, post-conceptual sculpture and installation, and collaborations with the film industry. Across this wide range of media, Discenza’s practice frequently employs various strategies of appropriation, metafictional gestures that situate his projects in a zone of narrative ambiguity, and the use of fragmentary or withheld information to direct viewers towards absent or imagined experiences.

Discenza’s work has been exhibited at the San Francisco Museum of Modern Art, the de Young Museum, V-A-C Foundation, the OCT Contemporary Art Terminal Shanghai, MOCA Cleveland, the Contemporary Jew- ish Museum, Objectif Exhibitions, the Wattis Institute for the Contemporary Arts, the Getty Center, and the Whitney Museum of American Art, among others. Recent exhibitions include Recrudescence at O.V. Project Room in Brussels, Daemonomania at Et al, etc. in San Francisco, Minotaurs at Foreign and Domestic in New York, and Acorn Reality at the Fall River Museum of Contemporary Art. Discenza’s work is held in several institutional collections, including Kadist Foundation, SFMOMA, and the Berkeley Art Museum. A longtime resident of the Bay Area, he is currently based in Holyoke, Massachusetts, where he also runs lower_cavity, an artist residency and project space.

CHASE BARNES

Chase Barnes is an Artist based in New York, NY. They make books, photographs and videos that examine the role of images and the notion of agency within the contemporary digital landscape. They received a BFA in 2016 from the University of Missouri, and an MFA from the Rhode Island School of Design in 2018. Their work has been recently shown at lower_cavity in Holyoke, MA; David Zwirner in New York, NY; Strata Editions in Livingston, MT; Format Festival in Derby, UK; So Power Palace Festival in Berlin; Gehlman Gallery in Providence, RI; ClampArt in New York, USA and Krakow Photomonth in Poland. Their work has recently been published in the British Journal of Photography, Der Grief Magazine, Paper Journal, and booooooom.

KELLEY O’LEARY

Kelley O’Leary (b. Quincy, Massachusetts) is an interdisciplinary artist based in Richmond, CA. Working across imagemaking, sculpture, video, and installation, she explores the relationships between media infrastructure, images and cosmic material bodies. Interested in speculative methods, she engages with both made and found artifacts that reflect how networked technologies mediate perception and restructure temporalities. She is co-curator of Living Room Light Exchange, a new media art salon based in the San Francisco Bay Area. Kelley received her MFA from the University of California, Davis in 2022.

NANCY HOLT

Nancy Holt (April 5, 1938 – February 8, 2014) was a member of the earth, land, and conceptual art movements. An innovator of site-specific installation and the moving image, Holt recalibrated the limits of art. She expanded the places where art could be found and embraced the new media of her time. Across five decades she asked questions about how we might understand our place in the world, investigating perception, systems, and place. Holt’s rich artistic output spans concrete poetry, audioworks, film and video, photography, slideworks, ephemeral gestures, drawings, room-sized installations, earthworks, artists’ books, and public sculpture commissions.

ROBERT SMITHSON

Robert Smithson (1938 - 1973) is an artist who recalibrated the possibilities of art. For over fifty years his work and ideas have influenced artists and thinkers, building the ground from which contemporary art has grown. An autodidact, Smithson’s interests in travel, cartography, geology, archi- tectural ruins, prehistory, philosophy, science-fiction, popular culture, and language spiral through his work. He was fascinated by concepts of duality, entropy, and questions of how we might find our place in the world. In his short and prolific life, Smithson produced paintings, drawings, sculptures, architectural schemes, films, photographs, writings, earthworks, and all the stops in between. From his landmark earthworks, Spiral Jetty (1970) and Partially Buried Woodshed (1970), which recently celebrated their fiftieth anniversary this year, to his ‘quasi-minimalist’ sculptures, nonsites, writings, projects and proposals, collages, detailed drawings, and radical rethinking of landscape, Smithson’s ideas are profoundly urgent for our times.