Contemporary Art in the Americas Arte Contemporáneo en las Américas
Time and the Technosphere

Time and the Technosphere

Ian James

VACANCY Los Angeles, California, USA 12/10/2016 – 01/28/2017

In Time and the Technosphere, Ian James pursues posthumanism through the dimension of recently antiquated healing devices. As we accelerate through late capitalism (oblivion), increasingly trying to undo damage to the self, we pile on layers of corrective technology, mutating into transhuman techno-beings. We are placed into a state of evolutionary hyperdrive. The work represents a kind of economic

Exhibition view, 2016. Courtesy of VACANCY, Los Angeles. Exhibition view, 2016. Courtesy of VACANCY, Los Angeles. D2GO (LP Assembly_2), 2016. Displays2Go magazine stand, pigment prints, assorted detritus. 10 x 14 x 58”. Courtesy of VACANCY, Los Angeles. In Time and the Technosphere, Ian James pursues posthumanism through the dimension of recently antiquated healing devices. As we

A Noiseless Patient Spider

A Noiseless Patient Spider

Linnea Kniaz

VACANCY Los Angeles, California, USA 10/22/2016 – 11/26/2016

Linnea Kniaz’s first post-MFA solo exhibition finds the artist extending her sculptural, painting-based installations to the architecture of the gallery space. 55” above the floor, Kniaz has embedded a 2×2” rail around the entire perimeter of the gallery, plastered in and painted white. Along one side of the space this thin shelf lifts off the wall entirely, itself

Exhibition view (from left to right): Situated Sequence 2. Plexi, cement block, brick, foam, acrylic on wall, plaster dust; Situated Sequence 3 (with Paul Pescador). Foam, plexi mirror, acrylic. Courtesy of VACANCY, Los Angeles. Situated Sequence 4. Variable dimensions; wire, foam, plexi mirror, acrylic. Courtesy of VACANCY, Los Angeles. Exhibition view (from left to right):

Epic 1-6

Epic 1-6

Spencer Holden

VACANCY Los Angeles, California, USA 10/22/2016 – 11/26/2016

First as tragedy, then as farce. The pan is a moral choice. – Spencer Holden Holden’s Epic 1-6 (2015), propose the camera as a moral instrument. Each video is shot during winter at a different outdoor location near the artist’s home in New York. Holden enters the frame walking either across, into, or away from the camera,

Epic 1-6 (2015), exhibition view. Courtesy of VACANCY, Los Angeles. First as tragedy, then as farce. The pan is a moral choice. – Spencer Holden Holden’s Epic 1-6 (2015), propose the camera as a moral instrument. Each video is shot during winter at a different outdoor location near the artist’s home in New York. Holden enters

A Person A Thought An Interruption

A Person A Thought An Interruption

Barnett Cohen and Jules Gimbrone

City Limits Oakland, California, USA 07/23/2016 – 08/13/2016

The crack of a body against something hard, the tremble of liquid falling into a pan, stretched out, layered; a sound slowly turning inside out. It withdraws from itself as a recognizable form. It begins to sound like an airplane, a voice, a toilet, a storm; the inside of a bell and then nothing at all. Inexplicable but clear. Inside of its

The crack of a body against something hard, the tremble of liquid falling into a pan, stretched out, layered; a sound slowly turning inside out. It withdraws from itself as a recognizable form. It begins to sound like an airplane, a voice, a toilet, a storm; the inside of a bell and then nothing at all. Inexplicable but clear. Inside of its