KRÆ syndikatet and Noysky Projects, Warehouse 9, Copenhagen, Denmark
July 4–11, 2019
KRÆ syndikatet and Noysky Projects presents Empedocles’ Ghost, a week-long exhibition and series of performances featuring works that explore the relationship between science and mysticism. Empedocles’ Ghost is a collaboration between artist-run galleries KRÆ syndikatet of Copenhagen and Noysky Projects of Los Angeles. Empedocles' Ghost is Noysky Projects' first off-site, international exhibition, which opens at Warehouse9 in Copenhagen.
Scholars have ruminated on the connection between science and spirituality for thousands of years, applying folk pedagogy to explain the complexity of the world. The Greek philosopher Empedocles was one of the first to formalize this concept, stating that the foundation for all matter consisted of earth, wind, fire, and water. Respectively, Buddhist, Egyptian, Babylonian, Hindu, and Chinese scholars also drew connections with the four elements, emphasizing the universal nature of this concept.
But with the widespread implementation of the scientific method, science and religion separated, leaving folk practices like alchemy and esotericism to decline precipitously. The fallout from this schism has fostered the rise of literalism, pitting the definitive logic of science against the ascribed doctrine of religion.
The Unified Field
Hansell Gallery, Philosophical Research Society, Los Angeles, CA
October 20th, 2018 - April 20th, 2019
THE UNIFIED FIELD features the work of emerging and established artists, working in a wide array of disciplines: photography, painting, performance, sculpture, spoken word, multimedia, installation, and interactive. In each case the work addresses the world beyond reason, and ways in which we access it.
JOAN, Los Angeles, September 9 – November 12, 2017
More Light is an exhibition about perception, about the transmission of language, about storytelling and pithy statements. It is about allegory. It is about awareness of the outside world, and the individual, and a sensitivity to their plights and turmoil. It is about social identity and political power, and how those economies are communicated. It is about multivocality. The artists in the exhibition resist traditional images of the spiritual or the secular in favor of the prismatic and the plural. More Light asks to vanquish the dark in favor of the light for the sake of ourselves and of all others.
Nicodim Gallery, Bucharest, Romania
June 17 – July 29, 2017
Rebirth can happen for you on 6.17.2017. The bureaucracy of your identity will be washed in the river Lethe. A cleansed Rebis will emerge, the Divine Hermaphrodite of Mystical Oneness. Come to Bucharest and learn the secret to letting all of this... go. Come to meet The Hierophant. Come for the revelation of the sacred.
Nicodim Gallery, Los Angeles, CA
April 15 – May 27, 2017
Beings stumbling through darkness hath seen Great Light above; on those residing in the eternal void, the unclenching grasp of the Omul Negru, the Basilisk has arisen.
Heed to the call of Light oh Children of the Sun, for it is only within It that ye will obtain eternal bliss and escape the pains of your Terrestrial suffering.
Behold I give unto ye a Celestial offering, even with a Truth Universal. Gazing directly opens the Eye’s fountain of this astral promise.
Earth’s center hath been found in the divine wheel of our Planets.
And behold the blinding brightness, as unto the purest aurum.
Fear not, unobstructed it shall shine on ye uniformly forevermore.
Embrace the rays of brightness that shine upon your crowns, lest ye become compelled by the indescribable glory and geometry of that endless form that shall reign over all matter forevermore on the sacred and anointed day of 4.4444.5777.
Laband Art Gallery, Loyola Marymount University, Los Angeles, CA
January 21 – March 19, 2017
The Laband Art Gallery is pleased to present Psychopomp, an exhibition comprised of works by thirteen contemporary artists. Psychopomp, a term that dates back to ancient Greece, describes different beings who guide us from one place to another, from the unconscious to the conscious, from life to death. They are tricksters, healers, midwives, shape shifters, and border crossers. One of the most recognizable psychopomps is Hermes, the Greek messenger god of trade, thieves, and travelers. We also find psychopomps in contemporary life. Just as Virgil guided Dante through the circles of hell, modern psychopomps help us navigate through physical and virtual spaces, personal turmoil, and political strife.
Roberts & Tilton, Culver City, CA
July 10 – August 14, 2010
Wild Thing, I think I love you... but I wanna know for sure. So come on, and hold me tight—I love you. – Wild Thing, Chip Taylor, 1965
Roberts & Tilton is pleased to present Wild Thing, an exhibition of works comprised of various approaches to what is considered wild and untamable, yet simultaneously conceptual and laborious. The works included in Wild Thing are not the embodiment or exacting replica of any one “wild thing,” but of any and all things considered “wild.” By presenting a selection of international and local artists, we come to realize that no distance or variation in culture has the ability to jeopardize the absolute integrity or the personal experience of what each viewer might consider “wild.”
Wet Paint 2
Steve Turner, Los Angeles, CA
August 15 – 21, 2010
Steve Turner Contemporary is pleased to present WET PAINT 2: Nine Young LA Artists, a one week exhibition featuring recently created works by talented local artists. These artists — Michael Carter, Patricia Fernandez, Matthias Merkel Hess, Nicole Miller, Jesse Mockrin, Joshua Nathanson, Sean Sullivan, Brendan Threadgill and Cody Trepte–will present work in a range of media include video, drawing, photography, sculpture and painting. The process of selection began immediately following last year’s inaugural edition of WET PAINT, and during the course of the last year, over two hundred and fifty artists were considered.
Charnel House Scraps
Greene Park Gallery, Los Angeles, CA
October 9 - October 30, 2010
Each artist in the exhibition Charnel House Scraps begins with signs appropriated or created by government, religion, corporation or otherwise, and through their touch, alters it to shift meaning, freeing the sign from its given meaning towards a new life and new potential possibility. Based on Mary Shelley’s description of Frankenstein’s monster from a preface to the 1831 edition, the exhibition’s title suggests that these works reanimate decayed signs and expose the hollow ones; forms are offered another function to perform. As Barthes put it, “its point of departure is constituted by the arrival of a meaning.” The new sign and the new form takes on a new conceptual value where each viewer engages in a permutation of sign consumption and translation, where unique points of departure are channeled by the artists towards new points of arrival.