Exhibition

This is the time. And this is the record of the time PT3.

Jessica Gispert, Nick Klein, Seung-Min Lee, T. Elliot Mansa, Karen Rifas, Irgin Sena, Matt Taber and Andy Van Dinh

July 8th - August 20th, 2022

Reception: Friday, July 8th, 2022, 6PM - 9PM

This is the time and this is a record of the time Pt3

What to say now? At present. About the present. What is the net effect from the last 3 years—is it “Affect”? Confused? This is real.

Exhibition Images

These are a selected group of works and installation photographs from the exhibition. For a complete list of available works please contact us.

This is the time. And this is the record of the time PT3.

Emerson Dorsch is pleased to announce, This is the time. And this is the record of the time PT3, a group exhibition curated by Carlos Rigau with works by Jessica Gispert, Nick Klein, Seung-Min Lee, T. Elliot Mansa, Karen Rifas, Irgin Sena, Matt Taber and Andy Van Dinh. The exhibition will be on view from July 8th – August 20th, 2022.

The exhibition’s title cites Laurie Anderson’s 1982 song “From the Air,” which channels and distills a widely felt intuition that disaster is at hand. Itself, a pun on the expression conveying zeitgeist; the song expresses symptoms of and reasons for this intuition. There seemed to be, at the time, a loss of personal control over one’s own fate, much less the world’s. The speed and quantity of technology were faster than any one person could keep up with. While news of global crises just as quickly spread and, similarly, piled up.

How can the state of things in 1982 register truer now than it was then? Other dystopian classics like Ray Bradbury’s, Fahrenheit 451 and George Orwell’s, 1984 that served as warnings to our school-aged selves reverberate now; 30 years later (give or take). The unreal imagined is the real unimaginable. Developments in media and technology, fiction decades ago, have come to pass, and fake news, alienation and authoritarian governments are indeed ascendent.

Curator Carlos Rigau states: “It’s more convoluted, constructed, and more divisive than ever before. […] Both sides are using this political strategy… to basically make you choose one or another when in fact it’s both.  The divisiveness has created a thick smoke screen that we can’t see through. Just as the art of the fifties was very much about post-Fascism – modernism tried to construct art as if there was no past. The moment we’re in now is utter confusion.”

For curator Carlos Rigau, the resulting state of shock and paralysis marks the art of our time. Another reference point is that of Iceberg B-17, which broke off from a major continental ice shelf and drifted near the coast of Australia in the early 2000s.  After that, another iceberg, A-68 emerged as a media star in 2020. Both became media touchpoints as evidence for and against climate change. Ultimately, they both melted away.

We want to thank the artists in the exhibition and Carlos Rigau for their participation and support, and our gallery team, Daniel Clapp, Juan Gonzalez, and Rachel Llaveria-Powell for their exceptional dedication in organizing this and all of our exhibitions.

Acknowledgments: Francesco Casale, Fulano Inc, Exile Books, Logic Art Miami and LnS Gallery, Miami FL

 

DYING LETTER BY ROB GOYANES

About the Artists

Jessica Gispert – is a visual artist from Miami, FL. Her work interconnect’s themes of identity, spirituality, and corporeality. Gispert uses transformative materials to investigate subcultural practices in the digital era related to ethnography, alchemy, and religion. Her recent book, UNSEEN, explores her relationship to spirituality as a silent part of her Cuban identity. The book presents new photographic work inspired by the intimate spaces used to honor ancestors and deities in Latin-American households.

 

Nick Klein – is an American artist currently based in the Netherlands. His approach to sound is emblematic of a movement in contemporary American dance music borne out of a desire to challenge the function of performance within a club setting, injecting an experimental approach to production underpinned by a deeply personal, emotive context.

Klein’s recorded output consistently challenges our preconceptions of what it means to make club music. Working primarily with modular synthesizers, his studio practice is typified by constant experimentation – the sculpting, tweaking, and repositioning of sounds and their evocative potential. Expanding the studio practice into live performance, Klein utilizes the framework of dance music as a means of challenging our motivation for movement, the nature of experience within a club context and what aspect of a composition is key to said experience. From record to record, the extent to which this format is re-arranged fluctuates, creating a network of studies in sonic function for the live environment.

 

Seung-Min Lee – How does your artistic practice disrupt perceptual or phenomenological habits of whiteness? Every project I begin starts with thoroughly trying to find the sources of a feeling of alienation I experience in my daily, mundane experience of being in the world. Rage, disappointment, resignation, submission: these are the internal phase changes that alert me to a rift in my acclimatization to the “best-fit” diagram of a world that assumes a white body as its subject/customer/end-user. Having this “double consciousness” is how we cope, but it is not how we heal. In my work, it is my habit, in these instances, to try to inhabit this other, white, space fully until I can almost empathize with the oppressor, to hold inside my body the monstrous and allow myself to be fully consumed by its seductive power; and by allowing my body to be vulnerable and open to this possession in public space, I seek create a meaningful tension that can disrupt the supposedly natural order of things.

 

T. Eliott Mansa – challenges and questions the efficacy of the role of the artist as a change agent. Mansa’s assemblage, paintings, and sculptures incorporate found materials in a way that subverts their original intent, reimagining them as apotropaic objects. His work incorporates the aesthetic of amalgamation found in grassroot roadside memorials, visionary Southern vernacular sculpture, and the West African practices of nkisi nkondi and bocio sculpture making. Mansa’s intention is to trigger the radical imagination of viewers, encouraging them to subvert the status quo and find socio-political agency in their own communities.
Courtesy of LNS

T Eliott Mansa has developed an assemblage practice that incorporates materials from roadside memorials, applying ritual practices from West African, Carribean, and Southern religious and vernacular sculptural traditions. Mansa was born in Miami, Florida and took a circuitous educational path through the Yale School of Art, Maryland Institute College of Art, to receive his MFA from CUNY-Hunter College in 2018, and his BFA from the University of Florida in 2000. He is interested in questioning the efficacy of political art making, and looks to apotropaic art making practices, and creates with a conceit of creating a ritual practice to honor, memorialize, protect, and defend Black Lives, from state and extra-judicial violence. Recent exhibition venues include LnS Gallery and David Castillo Gallery in Miami, FL; Rush Gallery in Brooklyn, NY; and Galerie Myrtis in Baltimore, MD. His work is in the permanent collection of the African American Museum of the Arts in Deland, FL. Mansa lives and works in Miami, Fl. Mansa received the 2019 Creator Award from Oolite Arts.

 

Karen Rifas – (Chicago, b. 1942) has shown nationally and internationally since the 1980s. She is the second recipient of The Michael Richards Award, presented by Oolite Arts. This award is given to a Miami-based artist who has created a recognized body of original, high-quality works over a sustained period of time, and who, through his or her practice, is achieving the highest levels of professional distinction in the visual arts. Her show at The Bass Museum of Art in 2018 was extremely well-received. In 2020, the Bass Museum of Art commissioned a series of banners by Rifas for their Art Outside initiative. Her work is represented in many public and private collections, including Museo de Arte de Ponce in Puerto Rico, The Bass Museum of Art, Fairchild Tropical Gardens, Oolite Arts, NSU Art Museum, Fort Lauderdale, FL, Museum of Contemporary Art North Miami, Miami-Dade Art in Public Places Trust, and Perez Art Museum Miami.

Karen Rifas has had solo exhibitions at Emerson Dorsch (2020), The Bass Museum of Art (2018), Emerson Dorsch (2017), Meetinghouse Gallery (2016), MDC Museum of Art + Design (2015), De La Cruz Collection (2010), Pinnacle Gallery, Savannah College of Art and Design (2007), Polk Museum of Art (2004), Art Center South Florida (now Oolite Arts) (1997) and Museo De Arte Comtemporaneo, Panama City (1993). She has exhibited in numerous group shows and presented the following projects: The Willfulness of Objects, The Bass Musuem of Art (2020-21); Notices in Mutable Terrain, curated by Adler Guerrier, Fundación Atchugarry (2019); Selections from Karen Rifas Papers: Defining Space, Women Artist Archive (2019); Transphysics: istwa, landscapes and paisajes, curated by William Cordova, Art and Culture Center, Hollywood (2017), 100+ Degrees in the Shade: A Survey of South Florida Art, curated by Jane Hart (2015), MIA-BER, Berlin Arts Club (2014), Following the Line, Girls’ Club Collection (2012), I Triennial, Santo Domingo (2010), globe>miami<island, curated by Robert Chambers, DC Museum of Contemporary Art (2002) and The Bass (2001). She taught at New World School of the Arts for many years as well Kendall Campus of Miami Dade College and University of Miami. She lives and works in Miami, FL. Her work is represented by Emerson Dorsch Gallery.

 

Irgin Sena – works with consideration of time as a space and as a zone. The voids, the gaps in between, the seemingly unimportant, or the things that fail are what he pays attention to. While thinking about time, Sena also considers the effectiveness of the delay. He is interested in the duration of transitions and moments of in(activity). The idea of creating a score, a track, and a timeline for the work, as one would do in music, has occupied him for some time. Irgin’s process has much to do with how we select what to see from what we merely look at. Irgin Sena was born in Albania and lives and works in New York. He has an MFA from Hunter College. In 2007 he received the ARRDHJE Award for Contemporary Art and in 2012 he was awarded the Marian Netter Award. Irgin has participated at Qui Vive, International Moscow Biennial for Young Art and New Insight, Chicago. His work has been shown at Futura- Center For contemporary Art, Prague; Art Chicago; Boots Contemporary Art Space, St. Louis; Vanessa Quang Galerie, Paris; House am Lutzowplatz, Berlin; The National Gallery, Tirana and Badischer-Kunstverein, Karlsruhe.

 

Matt Taber – (b. Boston, MA, USA) completed his MFA from Columbia University and his BFA from the School of the Art Institute of Chicago. His solo exhibitions include “In through the out door”, Secret Dungeon Gallery, Brooklyn, USA (2018); “Hacienda 2”, Interiors, Brooklyn, USA (2018); “Naked Earth”, Elevator Mondays Gallery, Los Angeles, USA (2017); “Hacienda”, Holiday Forever Gallery, Jackson Hole, USA (2017); “I want You to want Me”, YOUNG WORLD Gallery, Detroit, USA (2016).

His work has been included in group exhibitions at Chimney Gallery, Brooklyn, USA (2018), The Marjorie Barrick Museum, Las Vegas, USA (2017), 032c, Berlin, Germany (2016), GUCCIVUITTON, Miami, USA (2016), Schwarzwaldallee, Basel, Switzerland (2015).
Taber has participated in Teton ArtLab (Jackson Hole, USA), The Corporation of Yaddo (Saratoga Springs, USA), The Fallen Tower (Detroit, USA), Skowhegan School of Painting and Sculpture (Skowhegan, USA), Internationale Sommeracademie (Salzburg, Austria).

 

Andy Van Dinh – was born and raised in Calgary, Alberta, Canada, where he earned his BFA in Painting at the University of Calgary. He obtained his MFA in Painting at Hunter College in New York City.

I am a by-product of the wave of contemporary diasporas, and although I did not experience exile firsthand, I still am defined by the effects of location and relocation, adaptation and resettlement. I have inherited the traumas of war, colonialism, and natural disasters through a collective memory. I came into existence positioned in an ongoing narrative of the Vietnam War, an event that ended before my times. I am the distillation of a cultural sadness, a haunting history, and I recognize it in the way I’ve engaged with the world.

This feeling of displacement is difficult to explain. There’s this comprehensible, measurable distance between where I am and Vietnam, but there is also a strange and intangible distance that takes on many ambiguous forms. This indecipherable distance has formed into an ongoing enigmatic desire, which informs the use of the imaginary and fantasy in my works as temporary solutions to issues of self-hood and nameless longings.

Through drawing methods, I create realms of ambiguous alternate spaces where the self and the other, here and there can be consolidated by forming a visual context for my distant desires. Drawing creates the ability for me to give a tangible, physical presence to invisible, social obstructions that detain me from ‘returning’. The drawings become evidence of my corporeal engagement with place; a sensory documentation of translations/transferences of my becoming/being. I am to be found over there, over here, and in between, (re)adapted, (re)located, and (re)settled.

 

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