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the temporary space

the temporary space

First published, December 2010 Published through on-demand and online printing. Š the temporary space, 2010 All right reserved by the participating artists and the temporary space.

the temporary space 01.01.2010 - 06.30.2010

Contents: Introduction & Acknowledgement


“Am I Demon”



Night Tours

Song of Myself


the Andy Kaufman’s Show


21 27

Vince Schlomi’s Bidden Tongue

Texas Noise and Ambience Environment



Self-Accusation 39


American Rifle 3 56


Low Live 2

Complicity With Anonymous Materials

Interpretations, Translations, Transactions 83


White Noise

Emergent Behavior




Slab in Temporary Space

Unheralded media from a Pop-culture monologue...

Contributing Texts 105 Supporters & Collaborators A list of participating artists, collectives and collaborators 98



the temporary space emerged out of necessity based on common interests and curiosity over global and local community. the temporary space has aimed to be an space for artists to develop and experiment ideas through dialogues, exhibition, public art projects by collaboration and participation. The most critical part of the temporary space for its existence is positive and self-motivated participation from individuals. As the name suggests, the temporary space is meant to be temporary and ephemeral. The projects and structure of the organization are expected to change in order to best serve for the participating artists, collaborators and the community. The first phase of the temporary space took place in downtown Houston, Texas, between January 1st and June 30th, 2010. the temporary space launched the renovation project and served numerous exhibitions, talks and collaborative projects by receiving warm acceptance and self-motivated spirits from numerous artists and creative individuals all over the world.



Among all wonderful artists, the temporary space greatly appreciates individuals and groups who took significant roles to initiate and organize exhibitions and projects at the temporary space; Francis Giampietro, Tex Kerschen and Erika Kerschen of PERSUASION, Terry Suprean, Marcus Cone and Ian Travis of Chin Chao Ti Won, Martin Zet, Julia Cotti-Piccinelli, Raphael Rubinstein, Marcus Civin, Jorge Rojas, Abinadi Meza, Jeremy Deprez, Grant MacManus, Wendy Mason and Nancy Zastudil of Slab among others. the temporary space could have never survived and actively contributed for our community without collective and collaborative efforts out of all participating artists, curators, supporters, patrons, critics, writers, performers and organizers. Among others are Patrick Renner, Ryan Perry, Juan Alonzo of El Rincon Social, Jordan Poole, Sean Carroll of Melange Creperie, POISON GIRL, Jay Giroux, Saehee Cho, Jack Eriksson, Wendy Vogel, Robert Boyd, Regina Agu, Wayne Gilbert, Brian and Stevie McCord of The Perfumed Inserts, Ted Closson, William Cordova, Debra Barrera, Mike Cannon of GREENI RECYCLING, Jenni Rebecca Stephen-

son of SPACETAKER, boheme, Glasstire, Infinite Hangout, neurolinx, University of Houston. This book was made to be a record of all these memorable events at the temporary space and is expected to represent our collective experience to be shared at the temporary space. - the temporary space 2

“Am I Demon” Francis Giampietro January 15th, 2010 Front Gallery

Power and energy of sounds are always significant for human beings. “Am I Demon,” a song by Danzig, references the virility and spectacle used as a focal point by Francis Giampietro. “Am I Demon” is a collection resulting from Giampietro’s self-investigative project on the roots, effects and manifestations of virility. Through the use of association, gender and symbol he questions the historically and culturally constructed image of man. Contrasting symbolic figurative materials and abstract forms, a mark and sound become critical material for the audience to explore the subject with Giampietro. Through his intensive observation of athletes and the media imagery associated with them, Giampietro also addresses situational and psychological human force in relationship between spectators and the spectacle.

Right: Francis Giampietro, Untitled (detail), 2010


Francis Giampietro, “Am I Demon� installation view, 2010

Above: Francis Giampietro, Untitled, 2010 Right: Francis Giampietro, Untitled, 2010,


I’m hoping to explore a certain conception of male virility and what it can be in our contemporary setting. My exploration began with an examination of my personal history and experience. I looked at what objects and events in my life seemed to hold some significance or influence in relation to this idea of what a man is. Then I broke these things and events down in hopes of discovering how they came to hold these implications. These works are the byproduct of this ongoing investigation. -Francis Giampietro


Domokos Benczedi, Night Tours (installation view), 2010 Note: The installation was also used as a stage for a performance by Kunst Fashion.

Nights Tours Domokos Benczedi January 15th, 2010 Back Gallery

Above: Domokos Benczedi, Untitled, 2010 Right: Domokos Benczedi, Night Tours (installation view), 2010


Domokos Benczedi is a Houston-based artist and musician. He works intuitively and improvisationally. His collages and total field installations display a surety of touch as well as an aesthetic vision that is as sophisticated as it is bold. For many years these collages have appeared on posters, albums, t-shirts, and hand bills, but this is one of the first times for them to be shown together. These collages use imagery that is at once familiar and otherwordly. Familiar things– mascara dripping eyes, dots and other geometric forms used as rhythmic elements, extracted design flourishes and strips of advertising copy, are transformed into fetishes for unspoken states of fascination and desire. These new images are arrived at by way of appropriation, semantic upheaval, and his prodigious talent for creating near-infinite variations on a theme. They suggest human rituals amid alien landscapes. They are in part inspired by the art of Damon Edge of Chrome, Dada appropriation and cryptography, and the futuristic design ideals of post-World War II Japan and pre-World War II Eastern Europe. There is much in them of Fluxus and Arte Povera as well as those other similar traditions of 20th century art where art explicitly bears the marks of the conditions of living. But he is in no way an academic. His artistic practice- improvisation, repetitions on a theme, material experimentation and working on the cheap, draws more immediately on his experiences playing in the bands Rusted Shut and Future Blondes. These are handmade rather than digital collages. 13

Roughness and imperfection are part of their aesthetic and their charm. They display the process by which they are put together, proudly. Working from original paste-ups, he blows them up on photocopy machines, emphasizing toner spots, bits of scotch tape, visible fingerprints, shadow lines, torn edges, and other visual noise. These emblems of the collage and photocopy process are proofs of working in the physical world and in real time. In their proliferation and their rough-and-readiness these collages hint at the optimism necessary for prolonged creative activity in the absence of the promise of financial security or other institutional support. The end result of his work is not an evocation of an ideal world. The end result of his work is an insight into the possibility of improving the current one using what is already here. - PERSUASION




Who do you make it for?

Where do you live now?




How long have you been doing work like this?


1.5 WEEKS Tell me more about this work: THESE ARE PROMOTIONAL FUTURE BLONDES JAPAN 2010 TOUR IMAGES / TRANSPARENT CIVILIAN GALAXY TRAVEL BROCHURES / GARBAGE. What got you started? THE NEED. Why do you make it ? CHEMICAL REASONS / ESCAPE Under what conditions do you work? SAFE / FLUORESCENT / SECRET What else do you do?



Song of Myself Michael Dee January 15th, 2010 Back Gallery


Michael Dee is a Los Angeles based artist who works in sculpture, video, painting, and drawing. He relies on an aesthetically-refined system of narrative strategies based on faulty connotations, oblique irony, cacophony, and visual overload, drawing heavily on his experiences playing in experimental punk bands and his close studies of industrial processes. His sculptural objects and drawings suggest inapt resemblances between cheap consumer goods, post-erotic emotions, and other promising but non-starting metaphors. His videos likewise often feature simultaneous performances of songs by uncannily different performers. Forcefully joined, they create hybrid unions, things that should not be. Here he will be exhibiting two videos: Song of Myself and Here It Comes Again. In Song of Myself, performance footage of Led Zeppelin (performing Black Dog) plays at the same time as footage of Devo (performing Uncontrollable Urge.) The groups seem to be competing for possession of a nearly-identical guitar riff, and competing for the viewer’s attention. Led Zeppelin has always stood for a world of heroes and gods; Devo for their undoing in the face of the workings of time, human failings, and technology. In this video, these worlds come into conflict, as the video alternately foregrounds one group and the other, exposing the limits of their carefully crafted stage presences and by extension, their world views and moral purpose. A yelping Mark Mothersbaugh de-eroticizes the onanistic preening of a bare-chested Robert Plant. The virtuoso guitar playing of Jimmy Page obliterates the ironic diminishment of music represented 17

by Devo’s bunny-hopping chorus line. Here it Comes Again, a shorter loop featuring a dusty country road, a fast moving car, a car radio, a cow, and a car horn is nearly as loud. Shown together, speakers blaring, these videos create an exhilarating, unnerving atmosphere. There is no place for the eye to rest in this field of vying figures. The things he makes wear their scars. There is everywhere in his work a line of willful imperfection, where the images and objects call attention to art as a ruptured pomp- the results of the breakdown of experience and emotional information in the obsessive creative mind. Through the use of excessive volume, claustrophobic framing, imagery that is often intentionally degraded from repeated transfers from bootleg sources, his videos attempt to create a viscerally charged experience. In his words, as powerful of that of someone attending his or her first live rock concert. - PERSUASION

INTERVIEW WITH MICHAEL DEE By PERSUASION, 1/13/2010 Why do you make it? Where are you from? Pleasant Hills, 12 miles south of Pittsburgh. Where do you live now?

I am interested in providing a visceral experience through the use of white noise and visual overload. My goal is to produce an anxious space which would elicit the enthusiastic response one would encounter when seeing their first live rock show.

Skid Row, Los Angeles in the Catalina building. Under what conditions do you work ? What drives you from one place to another?

Since the late 90s.

Deliberately messy and technically challenged. I could make the videos very clean and punchy, but my cheap computers, degraded sources, and out of date cameras appeal to me. In my studio the sculptures, music equipment, video equipment, negative photos, and graphite drawings are everywhere.

Tell me more about this work

What else do you do?

The videos are as much about the sound as they are about the visuals, sometimes maybe even more so, the original music videos featured archival footage of black musicians playing their rock hits with white cover artists superimposed over top of them i.e., Richard/Boone, Berry/Beach Boys, etc.

I melt stars out of plastic whiskey tumblers, I build bullet proof plastic tube structures to house my fragile neon heart, I perform ballistic testing and aerospace research, and I play bass guitar and my homemade theremin.

Friends, projects, cheap rent. How long have you been doing work like this?

Who do you make it for? What got you started? I used to videotape my friends bands and performances, and I became interested in feedback, bass fuzz, and tube overdrive as well as the history of rock and roll.

Young people who I would I like to inspire to make a video, form a band, or have a warehouse party.


“the Andy Kaufman Show” Video Screening Organized by PERSUASION January 27th, 2010 Back Gallery 20

Genesis Terry Suprean February 13th, 2010 Front Gallery

Multi faceted work entitled Genesis by Terry Suprean analyzes his personal relationship with his own father as a way into a discussion of “the father as god” role in patriarchal society through religious references, personal and cultural history, and ritual. Suprean’s work reflects his emotional conflict in the process of maturity--the Genesis of masculinity from birth into “manhood”. Genesis is a highly personal investigation that deals with the creation of the history and mythology of the contemporary white western male through both sympathetic and critical analysis. Suprean expresses mixed feelings of nostalgia and emotional conflict that emerge from the gap between the presence of his own father and his own presence as an adult male. Genesis attempted to lead to wider social discussions on these issues through the investigation of the intersections between personal and cultural history and the making process.


Above: Terry Suprean, Two Stories, Two Piece Installation, 2010 Right: Detail shots of Story 1, Two Stories, Carved lettering by the first knife I (Suprean) owned as a kid given to me by my father + Knife



Thirty Portraits Of My Father For Every Year I Have Been Alive, 1980 – 2009, Age 30 – 60. Pencil, water-color, and gold ink on paper. Thirty 9 X 12 Inch portraits hung chronologically. Installation dimensions variable, 2010

Vince Shlomi’s Bidden Tongue PERSUASION February 13th, 2010

Right: PERSUASION, still image from Vince Shlomi’s Bidden Tongue, 2010


Texas Noise and Ambience environment Organized by Chin Xaou Ti Won February 13th, 2010 Back Gallery Texas Noise and Ambience environment was the second concert in an ongoing series curated by Markus Cone and Ian Travis that spotlights the works of Ambient, Drone, and Noise based musicians currently located and performing in the state of Texas. Through the use of acoustic instruments, auxiliary percussion, electronics, and devices, the musicians in the series strive to create sound collages and musical environments challenging the listener’s notion of active and passive listening. The performers: ze’r0-sum, Dark Ambient music with a classical edge. Concrete Violin, Formed after the collapse of Turmoil in the Toybox, Concrete Violin employs pedals and everyday objects to create a harsh noisy texture. Endless Blinding Sunshine, Endless Blinding Sunshine is Steve Matis and Carlos Pozo from Houston, Texas. Primarily a live performance outfit, Endless Blinding Sunshine uses feedback and effects to create minimal drones and ambient noise. Chin Xaou Ti Won, Chin Xaou Ti Won is a Houston-based Synth-pop/contemporary classical duo, comprised of Marcus Cone and St-Michel. The music draws on heavily from 80’s New Wave, Anime-Pop/ Video Game Music and 20th Century Minimalism - all belted out on a stack of synths, electronics and walls of percussion. Often dubbed by critics as film music, CXTW’s music is built strongly around melodies, ranging from the simplistic, yet catchy, to the lush and contemplative. Bret Shirley, A member of noise-rock outfit Black Congress, Bret Shirley employs pedals, midi devices, and guitars creating an acute ambiguous wall of pleasant noise. T.E.F, An active member of Houston’s Noise scene for over a decade, T.E.F is noise-music with an ambient intention. Bonus, Jazz, Noise, and drones are all belted together to create a ambient Post-Rock sound.

Documentation of Texas Noise and Ambience environment


Right: Performance by Melange Creperie, 2010

Self-Accusation Martin Zet March 12th, 2010 Back Gallery

Czech artist Martin Zet presents photo-documentations of his honest and serious responses to his culture-shock experience. Through his photo-documentation of himself entitled Self-Accusation, Zet examines indexes of his gestures to explore “the subject of the indication� and to capture his psychological states that generated these actions.


A dead-serious manifesto of old pricks (written for Martin Zet’s exhibition Old Prick, etc. Gallery, Prague, 2008) Aware that, considering all our previous actions and our age, there is little that can discredit us more. So in a dead-end situation, but conscious. We think: That nothing will be the way it used to be. That the state of things is considerably more serious than the most serious of estimates. There is no sense in talking about these things. When we’re happy, our joy is a mere shadow of the hapiness. Our laugh is an absent-minded hysteric grimace. Our humor is embarrassing because… it just is. We do not like, and we do not love. We are weeds of skepticism, irony and scorn. With all responsibility that has been always denied to us, we swear: That what we are, we’ll remain in the long run. We will hurt our friends and those dear to us. We will press to tears those that love us. We belittle everything positive and sully everything beautiful. We bring ourselves to even worse state than we’re in now. All means of salvation and offers of help we’ll use against ourselves. That should be enough. Ivan Mečl 34

My friend a Chinese sculptor Feng Yi Guej was pointing at tip of his nose, when talking about himself. Till I met him I had pointed at my chest. M. Z. September 28, 1989

Right: Martin Zet, Self-Accusation (installation view), 2010 Next pages: a selected image out of 250 consecutive documentations from Self Accusation, 2008



White Noise Julia Cotti-Piccinelli March 12th, 2010 Artist in residence space

White Noise by Parisian artist Julia Cotti-Piccinelli presented video works that explore mysterious and imaginative stories of individuals through her pre-written scripts. Her videos are documentations of stories that are inseparable from her life or documentations of her life that is already scripted to her destiny as her unpredictable fate. These portrayed videos examine the notion of destiny and explore her confrontation with fate, coincidence and imagination in everyday life.



Kaa (video, black and white, 2m17) Like in a love story. He’s there, alone, on a bench, he’s feeding the pigeons. Maybe his father was a carrier pigeons breeder, maybe one night in London he caught a pigeon in the street to cook it, to devour it. Maybe he will succeed to pounce on his prey. Maybe he’s not the predator ; but that hidden thing, watching him, all time Julia Cotti-Piccinelli .


White noise (video, color, 4m36) That’s that lonely man in a place. The film is not located in time, it could be an extract of a story. Each scene is also extracted from the very structure of the starting scenario. And what comes later in time is not necessarily a result. Fuck that damned relation of cause and effect. The character wanders in the depths of what is snatching him from all sides. The corridor, the mirror, the stairs, the clock are the hero. The rest is secondary. This is the secondary’s tender portrait. Then there is that form, that spider, that woman, these two women. Their status is transcient and transitional. They inhabit that place as they inhabit that man, who had all the attributes to seem worthy however. Him who gets trapped, surrounded. Because there is also me, and you, especially. Julia Cotti-Piccinelli 42

Emergent Behavior: Project for a Houston Biennial April 9th, 2010 Front and Back Gallery This exhibition presented a project for an imagined Houston Biennial of contemporary art curated by participants in Raphael Rubinstein’s Virtual Curating course at the University of Houston School of Art. This virtual biennial included 51 international artists working in a variety of mediums.


Left: Emergent Behavior (installation view), 2010 46

Emergent Behavior: Project for a Houston Biennial The title “Emergent Behavior” is borrowed from systems theory in which it is used to describe a phenomenon of independent parts working together, and not predictable on the basis of their properties. An emergent behavior can appear when a number of simple entities operate in an environment, forming more complex behaviors as a collective. Unlike many biennial exhibitions that begin with a predetermined curatorial theme, the artists in this show were selected through an empirical process. Over the course of several months the curators refined a selection that includes established artists who have created significant new bodies of work within the last two years as well as younger recently emerged artists. Much of the work in the exhibition involves the scavenging of social detritus. This can be seen, for instance, in the drawings of Aurel Schmidt, the paintings of Mark Flood, and the videos of Cameron Jamie as well as in the work of seminal figures such as Mike Kelley and Jacques de la Villeglé. The exhibition also focuses groups of younger artists working in Iran and Houston. The presentation at The Temporary Space will involve not the actual works of art, but diagrammatic representation of works by each of the artists in the exhibition. In addition to the physical installation, the Emergent Behavior project can be viewed at Curators: Danilo Bojic, Michelle Chen, Jeremy Deprez, Sebastian Forray, Jason Giroux, Chuck Ivy, Brittney Ragsdale, M’kina Tapscott, Tala Vahabzadeh Artists: Makoto Aida, Lady Aiko, Seth Alverson, Mahmood Bakhsh, Michael Bise, John Michael Boling, David Choe, Barbara Degenevieve, Bita Fayyazi, Xenia Fedorchenko, Mark Flood, Amirali Ghasemi, Lane Hagood, Rachel Hecker, Kent Henricksen, Emily Jacir, Cameron Jamie, Yeondoo Jung, Mike Kelley, Dave Kinsey, Aaron Koblin, Annette Lawrence, Cody Ledvina, Samantha Levin, Antony Micallef, Mandana Maghaddam, Malcolm Morley, Wangechi Mutu, Tomoko Nagai, Albert Oehlen, Satoshi Ohno, Robert Pruitt, Neda Razavipour, Anthony Record, Peter Richards, Walid Raad, Dario Robleto, Jon Rubin, Aurel Schmidt, James Sham, Mark Schatz, Chiharu Shiota, Mamali Shafahi, Prince Thomas, Tim & Eric’s Awesome Show, Philip Toledano, Scott Treleaven, Francis Upritchard, Jacques de la Villeglé, Jamie Warren and Hiroshi Watanabe 47

Above: from the left, Jeremy Deprez, Chuck Ivy, Brittney Ragsdale, Danilo Bojic, Michelle Chen, Raphael Rubinstein, M’kina Tapscott, Tala Vahabzadeh. A documentation from Curator’s talk on Emergent Behavior: a Project for Houston Biennial, moderated by Raphael Rubinstein. The talk was broadcasted through the Internet. The recording is accessible via


American Rifle 3 Marcus Civin April 30th, 2010 Back Gallery American Rifle 3, a text and prop-based performance, explores human violence and human resourcefulness as informed by colliding research into the Great Depression, gruesome Los Angeles Sunset Strip murders, the Underwear Bomber, radical psychoanalyst Wilhelm Reich, and the silent film comedy of Buster Keaton and Charlie Chaplin. Over the past year, Civin has performed parts of American Rifle at Los Angeles Contemporary Exhibitions (LACE), Francois Ghebaly Gallery and Sea and Space Explorations in LA. In American Rifle, a rifle is a weapon, a noun, but also think: to rifle through, verb, to look for something. In American Rifle, Civin—a clown—sings, dances, demonstrates and practices survival rituals. Informed by the historical performance innovations of Happenings and Fluxus, in American Rifle 3, Civin deals with the symbolic presence of a rifle, a rifle of America, but in the performance, there is no rifle. At the temporary space, Civin will symbolically and metaphorically play with magically-attractivebut-unfulfilling aspects of the American Dream, referencing F. Scott Fitzgerald’s The Great Gatsby, and enlisting co-conspirators to regularly interrupt a song-and-dance number by throwing him against a wall-sized target. Civin will perform unnecessary hardship, futility, and dogged persistence, pulling erratic items out of a suitcase labeled “Snake Oil Salesman” and making these items work. American Rifle 3 was broadcasted through as the Internet live stream network project Low Lives 2 curated and organized by Jorge Rojas, a multidisciplinary artist / curator. The selected projects were displayed at the participating venues in Low Lives 2.

note: This text was excerpted from press release.


Right: A detail shot from American Rifle 3, 2010 Next pages: American Rifle 3 (installation view), 2010

This page: detail shots of American Rifle 3, 2010 and Marcus Civin.


Low Live 2 Curated and organized by Jorge Rojas April 30th, 2010

Organized and curated by Brooklyn-based artist and curator, Jorge Rojas, Low Lives embraces works with a lo-fi aesthetic such as low pixel image and sound quality, contributing to a raw, DIY and sometimes voyeuristic quality in the transmission and reception of the work. The international artists and artist collectives participating in this exhibition will transmit their performances from countries including Brazil, Canada, Czech Republic, Germany, Italy, New Zealand, Singapore Trinidad & Tobago and from the following cities in the United States: Austin, TX; Houston, TX; Nashville, TN; NYC, NY; Miami, FL; Fort Lauderdale, FL; Minneapolis, MN; Las Vegas, NV; Gunnison, CO; San Francisco, CA; Chicago, IL and Los Angeles, CA.


“Low Lives is about not simply the presentation of performative gestures at a particular place and time but also about the transmission of these moments and what gets lost, conveyed, blurred, and reconfigured when utilizing this medium� Curator Jorge Rojas.

Rojas, whose artwork has increasingly involved performative elements and live video streaming networks, proposed this exhibition to each of the presenting partners because of their commitment to experimental art, performance art, new media and framing local and international art-making. 57

As a new addition to this year’s exhibition, presenting partners contributed to the curatorial process and evening’s program by presenting a live performance at their venues. The following artists and venues presented live performances on the night of the event: Lawrence Graham-Brown- Co-presented by Aljira and El Museo del Barrio Michael Smith- Co-presented by Co-Lab and Fusebox Festival Gigi Otalvaro-Hormillosa AKA Devil Bunny- Presented by Galeria de la Raza Alexis Caputo- Presented by Diaspora Vibe Gallery Gabrielle Civil- Presented by Obsidian Arts Marcus Civin- Presented by The Temporary Space Low Lives 2 was presented at the following venues: El Museo del Barrio: 1230 5th Avenue, NYC Galeria de la Raza: 2857 24th Street, SF Diaspora Vibe Gallery: 3938 North Miami Ave., Miami the temporary space: 1320 Nance St., Houston Obsidian Arts: 3501 Chicago Avenue South, Minneapolis Terminal: APSU- Clarksville Co-Lab: 613 Allen St., Austin Studio 304: 304 Boerum St., Brooklyn


Right: a documentation of live performance and live streaming

Complicity With Anonymous Materials 13 Houston-based artists April 30th, 2010 Front Gallery

Complicity With Anonymous Materials is a cinematic platform focused on temporal viscosity and spatial feedback, presented by 13 Houston-based artists: Ted Closson, Jeremy Deprez, James Diedrich, Francis Giampietro, Chuck Ivy, Natali Leduc, Grant MacManus, Abinadi Meza, Richard Nix, Eduardo Portillo, Brit Ragsdale, Hana Shoup and Thais Verissimo. 61

Interpretations, Translations, Transactions Devised by Jeremy DePrez, Francis Giampietro, Grant MacManus May 22nd, 2010 Front and Back Gallery

Interpretations, Translations, Transactions was an international collaborative project devised by Jeremy DePrez, Francis Giampietro and Grant MacManus. Jeremy DePrez along with Aimee Lusty (Brooklyn), Pablo Boffelli (Argentina), Mitchell Cumming (Australia), Laurent Impeduglia (Belgium) and special guest Geoff Hippenstiel (Houston) examine the language within and around adolescent toys by physically dismantling and re-contextualizing them in two dimensional as well as three dimensional formats. The collaboration developed through the social networking site flickr as a way to build a working dialogue between the artists. As DePrez worked on sculptures he would post progress shots on flickr and the other artists would use that information to develop two dimensional works that in turn would get posted on flickr and inform the sculptures.

Right: Jeremy DePrez, Untitled, 2010, Sage Ronin Warrior armor and heat, 2.25� x 3�


Left: Interpretations, Translations, Transactions, installation view, 2010


Aimee Lusty Untitled, 2010, Acrylic and graphite on panel, 11” x 14”


Untitled, 2010, Ink, acrylic, and gouache on panel, 11” x 14”


Pablo Boffelli IN LIVE, 2010, Ink and pigment on paper 6.5” x 8”


Mitchell Cumming and Jeremy DePrez Untitled (response to Barthe’s toys), 2010 Paint on movable wood pieces, Dimension variable


Laurent Impeduglia

Untitled (black skull), 2010, Ink and pigment on paper, 11” x 14”

Right: Liberty/AHAH (detail), 2010, Ink and pigment on paper, 11” x 14”


Geoff Hippenstiel Untitled (after yuri), Oil on Canvas, 14” x 11”

Left: Slave I, 2010, Oil on canvas,11” x 14”


Francis Giampietro and Ivan Monforte Francis Giampietro exchanged body hair with Ivan Monforte of New York, in order to create two brick sized resin cubes of hair. The impetus for this project came out of casual conversations between the artists around themes of sex, love, religion, marriage, martyrdom, intimacy, pain and sainthood. The intimate and ritualistic action is in an attempt to speak about the simultaneous veneration and rejection of the body often found in spiritual and religious rhetoric.

Above: A collaboration piece by Francis Giampietro and Ivan Monforte, Reliquary, 2010, Body hair, resin, white pine and lights, 8” x 5” x 5” each Right: Francis Giampietro and Ivan Monforte communicating through skype for artist’s talk


Grant MacManus and Andrea Mouth


Another experimental project was executed between Grant MacManus, a Houston base video and sound artist, and Andrea Mouth, a nomadic sound artist currently paused in China. MacManus came across her when she contacted him via his website about a video project he had worked on. Mouth and MacManus proceeded to trade audio files and collaborate on the on-going sounds project entitled “transversality of journals,� which explores translatability and transversality of reproducible and ephemeral quality of phonetic materials they integrate.


An interactive digital video project by Mr. “anonymous (A.K.A. Batt eye jerk)”

Slab in Temporary Space Organized by Slab June 18th, 2010 Front Gallery

Slab in temporary space is an exhibition project organized by Wendy Mason and Nancy Zastudil, the curatorial and artistic creators of Slab. For this exhibition, Slab invites a limited number of artists from all over the world to examine relationships between an artwork and its location by photographing one of their existing works in a temporary location - specifically an area that is arguably unconventional. Participating artists: Laura Aldridge, Justin Boyd, Nick Brown, Enrique Castrejon, Kim Collmer, Jason David, Michael Decker, Alyssa Gorelick, Deva Graf, Julia Hechtman, Jon Irving, Rachel de Joode, Louisa Van Leer, Karen Lofgren, Dashiell Manley, Frederique de Montblanc, TV Moore, Kia Neill, Amy Patton, Melissa Scherrer, Mindy Rose Schwartz, Jason Underhill, Max Warsh, and Chris Wilder.

ABOUT SLAB Slab is an exhibition method enacted by artist Wendy Mason and curator Nancy Zastudil. We operate on a project-by-project basis and function as a literal and metaphorical platform for artists’ works, including solo, group and collaborative projects. Our exhibition concept finds potential in experimental locations.

Right: Kim Collmer, Haus im Meer (House in the Water), 2009, Digital photograph


Laura Aldridge Untitled, 2010 Plaster and paint

Deva Graf The First Thing Born. “Beach,” 2010 Digital photograph

TV Moore HELLOHELLOHELLO, 2010 Digital photograph


Justin Boyd I’d Like To Teach The World To Sing, 1999 Portable record player, one copy of Bobby McFerrin’s Don’t Worry Be Happy

Julia Hechtman spider web, 2009. Etched mirror Dimensions: 12 x 12 inches

Amy Patton Untitled photo study, 2005 Projected video on screen, 45x60cm photograph

Nick Brown Early Morning, 2009 Pastel on paper

Enrique Castrejon Geometric Mediations, Guesthouse Bed 2010 Digital phorograph

Jon Irving Sound of Ice Falling, Mt Pinos (Lemon tree, Los Angeles), 2010 Digital photograph

Rachel de Joode A chicken taped to a keyboard makes me sad & I love Terra Preta, 2008 Puzzle book, coconut, empty perfume bottle, chicken, keyboard, general automation tape

Kia Neill Terrain, 2010 Chicken wire, paper-mache, plaster, paint, cds, glitter, polyurethane foam, flocking fiber, Spanish moss, holiday lights, tinsel, cardboard. Dimensions: approx. 30 x 40 feet x 5 feet high

Melissa Scherrer Cactus Bouquet, 2010 Digital photograph

Kim Collmer Haus im Meer (House in the Water), 2009 Digital photograph

Jason David The Hubris Tree, 2010 Wood, paint, wax, hemp

Michael Decker Temporary lizard habitat road pile. 2010 Orange juice carton, enamel, colored squeeze top containers, electrical pipe, rocks, and concrete. Dimensions: 41 x 75 x 53 inches

Alyssa Gorelick Taming-Slab-Horizontal, 2008/2010 Digital photograph

Louisa Van Leer Seep, 2010 Digital photograph

Karen Lofgren Free Robots, 2006 Wood, cardboard, paint, pencil, photo adhesive, foil and aluminum leaf Edition of 8

Dashiell Manley Full Metallica Jacket (adjournment), 2010 Mixed media

Frederique de Montblanc The Master Bedroom Deluxe Walk-in Closet (Indulge with) #1, 2009 Ink and pencil on paper collaged on found printed plate

Mindy Rose Schwartz Head, 2009 Digital photograph

Jason Underhill The Dance, Part 1 (scene), 2010 Digital video Documented in artist's parents' master bedroom, Simi Valley, California

Max Warsh Incentives for Exile, 2010 Acrylic and photographs on wood

Chris Wilder Untitled, 1995


Unheralded Media from a Pop-culture monologue... Ted Closson, Brian and Stevie McCord, Mark Nasso June 18th, 2010 Back Gallery

Unheralded Media from a Pop-culture monologue... is a local survey of Houston comic book artists that focuses on varieties of narratives, graphics and styles. The exhibition includes Ted Closson, Brian and Stevie McCord (The McCords) and Mark Nasso. Ted Closson’s work focuses on archetypes within heroic narratives through combinations of historic references and contemporary issues. Closson applies digital technology in his process and visualizes autobiographical and fictional stories about life and memory. Entitled Spectacula, Brian and Stevie McCord, also known as a collaborative partnership The McCords, employ intense and meticulous illustration of visual narratives with minimal typed texts examining and questioning the current state of global conflicts and the environmental concerns through anthropomorphic animal characters. Mark Nasso’s Land of the Rats is an illustrated fantasy story about the adventures of a hybrid rat-human in a spectacular, otherworldly setting. Nasso utilizes traditional tools of a pen and ink to create bold and heroic characters, as well as imaginary villains and monsters, dealing with dualities relating to our life.

Left: An excerpted image from Ted Closson’s work


Left: a collaborative project by the participants



I have been interested in comic books and storytelling since I was very young. I read comics from a drugstore spinner rack in my hometown, wandered aimlessly through bookstores and libraries and generally fell in love with literature, film and folklore growing up. Later on, Joseph Campbell’s writings on the uses of archetypes within heroic narratives became an early theoretical model for approaching narratives of my own. Through these I began to see how integrated narratives and the telling of stories were even in contemporary life. How necessary they were for some forms of communication and how people instinctively built them in daily life when deprived of them. Sequential narratives, particularly in the specialized medium of comic books, with its juxtaposing of images in sequence to cue narrative gestalts, seemed closest to the way in which I perceived the world around me. When I began working through visual narratives on my own, particularly with fiction pieces, I found a strong desire to craft the visual in a way that allowed me to see the

world I was creating in greater detail- through more that the window of the panel or written descriptions would allow. I needed to see the world in its entirety and then edit it down, a process inherent to many narrative techniques. The end result is a series of six maquettes, a form of production modeling usually seen in film, which I have crafted in order to clarify uncertain visual elements in the work. To further emphasize this world-building exercise, sections of the original script are also shown along with some initial drawings for pages, to both expose the framework by which a comic book narrative operates and aid the viewer. - Ted Closson

Left: A work by Ted Closson Above: model charactoers of works by Ted Closson


“Spectacula” “Spectacula” is what both Stevie and Myself hope to be a long running print project. It is a carefully considered work. The means of production, down to choice of materials utilized, The themes encountered through the narrative, the choice of protago93

nists in terms of characterization, and the style of the art work illustration, as well as the legal boundaries set around it, are deliberate choices on the part of Stevie and Myself, as the creators. “Spectacula” is a hand drawn with black ink on

recycled paper. The images in ink are then mechanically reproduced by means of a photocopier. The printed pages then are bound by hand. All materials and means of production are common place. Signification and differentiation are arrived at by an intense, laborious, obsessive, focused drafting technique. The work is designed to keep a reader occupied, by capturing attention, and thereby slowing his/her psychological time. The narrative progresses by means of visual storytelling, with minimal typed text, in order to clarify our meaning as authors. There is an attempt to fill, to the point of overflowing, each panel, with details, creating rich visuals, that are worth revisiting for the sake of finding what might have been overlooked upon initial cursory inspection. “Spectacula” will remain within the realm of the printed page. The tangible qualities of paper media are accentuated, producing a real object, to be appreciated in real time, and engaging many senses. Creating a cherished object, stimulating a positive response to ownership. “Spectacula” storyline follows several themes, Marriage being one of them. The two main protagonists, Blacula and Nina’s very special relationship is a mirror of ours, the Author’s, with of course a heaping dose of humors. Their Love is their sustenance they thrive upon as they overcome obstacles. Another, the relation of employment as means of arriving at power, and all of the frustration that surrounds that struggle. The appreciation of the work day is recalibrated, out of utility, and into to an epic fantasy. The current state of global conflict and environmental concern is met with an Ian Fleming type plunge out of news facts forming a backdrop for the nar-

rative. Our common political atmosphere is represented in the work making, the work universal and accessible for the reader. What is depicted within each panel, in terms of inanimate objects rendered, is a deliberate style choice. Machined goods, surplus… analogue vs. digital, machined and lathed vs. vacuum molded. Cotton, wool, linen, leather, brass, steel, lead, canvas vs. plastic, and synthetics. Objects depicted are represented as engaging and tactile. That tactile experience, I believe is rather lacking in our culture. The heavy reliance upon animal characters is an examination of the dichotomous relation the animal world bares to ours, the human world. A certain animal-spirit concept is in play, at once defining dynamic relations between ours and theirs. Theirs and ours, currently under threat from our mechanistic processes. With the Author’s Fantastic Feline Dare Devil Hard Core Asstastic Wunder Gatos as Muse, we have animal spirit as readily available code. Stevie and Myself are producing “Spectacula” under trade mark, through our business, “The Perfumed Inserts”. If there were to be imitators, for whatever reason, Stevie & Myself are prepared to wage Titanic Court Battles reminiscent of Ray Harryhausen’s clay-mation dinosaur fights! Yours Sincerely, - Brian & Stevie McCord, “The Perfumed Inserts”


Land of the Rats by Mark Nasso

Contributing texts

William Cordova April 24, 1970, midnight concert at the Apollo Theater, Harlem This live album came into my own archive by chance but not accident. It was through direct awareness and relation to the social content of the material rather than curiosity that led me to its existence. The concert captured the imagination of many young people all over the US, and influenced other music oriented fundraising events by bringing together activists and musicians who were radically revolutionizing activism around the world; The New Haven 8 Concert, Concert for Bangladesh and Concert for The People of Kampuchea, Farm Aid, the list goes on. Organized by The Young Lords, a Latino community organization based in New York City. The Lords modeled themselves after the Black Panther Party’s platform, and their free survival programs, children’s breakfast, food/clothes giveaway, legal defense, and free clinics for the poor. All proceeds went into funding these programs. The concert appealed to a diverse audience through an eclectic line up of music that included, R&B, Latin avantgarde, Rock, Salsa and poetry. The album’s jacket design is minimal with a single Black and White photo printed across the front. The back of the jacket is equally simple without liner notes, year of manufacturer or Record Label, except to note tracks and performers. It is important to note that the actual vinyl record does not contain 99

any printed information other than the numbers 0086813209. One can figure out the A side by listening to the audio intro of Denise Oliver, The Young Lords Minister of Economic Development, hosting “our first guest” the music of Joe Bataan. It’s obvious that Bataan’s set is incomplete from the quick audio cuts, still, this may be the earliest known live recordings of Joe Bataan, An Afro-Filipino, from Spanish Harlem and one of the first musicians to sign with Fania Records. Track 1 is a scorching version of What Good is a Castle; a poignant composition about the state of low income housing the decrepit high rises of El Barrio. Track 2. Ordinary Guy is an interesting sped up live version from Joe Bataan’s Riot album (Fania 1968). Ordinary Guy was originally released on Bataan’s Gypsy Woman LP (Fania 1967). Tracks 3. Obatala closes the set but then Joe Bataan returns to the stage and proceeds to perform his first hit single, Gypsy Woman and finally a theater rousing Freedom from 1969’s Poor Boy (Fania). “but I was what I am, a man for the times…am talking about freedom?” - Joe Bataan (Freedom) The Rascals (formerly, Young Rascals) start up track 4. Good Lovin,’ from their self-titled Young Rascals album (1966, Atlantic) partially excludes is the bands introduction by Denise Oliver. Track 5. People Got To Be Free, evolves into an extended sing along with the audience that runs a total of 6 minutes a huge feat for a song that originally runs 2 minutes and 30 seconds. Track 6. Groovin’ (1967, Atlantic) really reveals the extent of influence that Afro & Latino music had in contemporary Rock mu-

sic of the late 1960s and early 70s. Groovin’ first starts out with a conga solo from an unknown player and a bilingual version of the song by lead singer Felix Cavaliere. A version that is seldom heard live. (Groovin’/ Sueño, Atlantic 1967). Elaine Yarborough and The Truth & Soul Ensemble performed only one song or at least it was the only one included, Track 7. Leavin’ This Morning, a traditional folk song originally recorded by Odetta on Odetta and the Blues (1962, Riverside). The Truth & Soul Ensemble’s version though is far from traditional or acoustic. Elaine Yarboroughs (not to be confused with Yarbrough & Peoples) soulful voice often climaxes the blaring high brass, drums & bass background of The Ensemble. It is unfortunate that no other recordings of this group were able to be located. The following performers, track 8. The Harley Four, is interesting in that this is a Martial Arts family troupe performing without any music as background and yet included in the album. One is almost prompted to visualize the movements and breathing of each performer as they interact through their set. Side B opens with a long duration of static whose source, after much scrutinizing, turns out to be the microphone to the reel-to-reel recorder that the entire event was recorded with. Track 1. Speech, starts out with “a solidarity telegram from Betty Shabazz, widow of Malcolm X, it’s unclear if Denise Oliver of the Young Lords is reading the telegram. Track 2. Starts out much clearer, the album track listing states, Richard Moore (Dharuba) of the Black Panther 21 speaks. 101

“I came to curse you out and you should take that as constructive criticism…. come and see about Bobby” -Dharuba (Black Panther) Richard Moore (Dharuba Bin Wahad), and 20 other Black Panthers accused of planning to terrorize New York City landmarks were all eventually acquitted in what was to be the longest and most expensive criminal court trial in NY city history. This rare recording of a speech by Dharuba also makes the entire event more monumental in regards to the historic location, historic event and historic participants. Track 3. Felipe Speaks, “let us not support political prisoners because they are images. Let us support them because we are supporting ourselves,” a brief monologue by Felipe Luciano (The Young Lords NY Chairman). Track 4. Pedro Pietri, is an early recording of late activist and poet Pedro Pietri’s Puerto Rican Obituary poem, a powerfully insightful masterpiece of literature. One can hear a pin drop in the Apollo’s cavernous stage as Pietri’s poetry flows with rhymes.

Milagros, Olga, Manuel, 
 All died yesterday today and will die again tomorrow passing their bill collectors on to the next of kin
 All died waiting for the garden of Eden to open up again under a new management All died dreaming about America -Pedro Pietri (excerpt; Puerto Rican Obituary, Monthly review Press 1973) Track 5. The Last Poets, offers a reunion of sorts as David Nelson, Gylan Kain and Felipe Luciano the original Last Poets took center stage probably for the last time (1968-1970). Only one track is mentioned though the trio performs 3 pieces including Tell Me Brother (Kain), Black Woman (David Nelson), and Rifle/Oracion-Rifle player (Luciano). All three tracks were also recorded in The Last Poets, Right On film soundtrack (Juggernaut Records 1970). Felipe Luciano offers the audience a parting comment, “Revolution is difficult…but we will win… you mustn’t just sit there, leave and think it’s not happening…. Let me make this…very clear to all the police in the audience, and for those who will still see their roles as passive ones: the shit is on!” -William Cordova


Debra Barrera Q: I would like to ask you to write your perspective about "art and society," if you can take some time. So, I can post it on the website to share your perspective with other community members. - the manager A: After seeing Cool School: How LA Learned to Love Modern Art I watched Christopher Cassel’s educational short, The Dark Ages immediately after. If I was writing a piece of criticism I’m guessing the jump between these two titles would indicate a negative parallel but criticism is not my intention. Instead I envisioned Ed Ruscha in the middle of 7th century Rome etching “From This to That” over some discarded pagan wall. Art and society seem to filter out and filter into each other, sometimes symbiotically, and other times in complete opposition. Yet, most often marginalization takes place in the synthesis of art and society; a marginalization overshadowed by a minute collection of popular stars standing like black sheep that are never sent to shear or slaughter. Despite the ominous task of making art that influences society, the inverse seems to be one of the most fundamental facets of

and histories comprise art making formulated by responses within, toward, and in opposition of society past or present. For 1960’s LA, streamlined car chassis and cherry red auto paint were like steel framed Byzantine saints preached about over radio waves and on televisions. Art waxes and wanes in societal affect; each failure a synapse, each success a call to arms, and in the midst of both global awareness and seeming insignificance art falls back into the society from which it derived. The desire to recede from and immerse into society in order to formulate an art process proves a cyclical dialectic that somehow seems to progress, if only invisibly--if only in dreams. LA had dreams, so did the Visigoths, and somewhere between the fall of the Roman Empire, 1965, and now, art bobs on water--rising and falling, like a party balloon. - Debra Barrera

art making. Societal constructs, concepts, 103

Q: I also want to ask you to write your idea and vision about "idealized society / dream world" as detailed as possible. I was wondering the role of artists who bring imagination to the real world and realize the idealized society into the real life /?fictional?life. - the manager A: 1. Galleons gather up on the seas like a grouping of herons in zoo cages. 2. Women in churches or believers in powder rooms. 3. “Forever Looks So Good Right Now.” (Thanks Yarisal and Kublitz, I’d invite you on some golden ship but you are going to beautiful places without me and probably don’t need a boat to get there.) - Debra Barrera


Supporters & Collaborators



A list of participating artists, collectives and collaborators Laura Aldridge - Debra Barrera Pablo Boffelli - Danilo Bojic - Bonus Justin Boyd Nick Brown - Enrique Castrejon Marcus Civin - Michelle Chen Ted Closson - Kim Collmer William Cordova Julia Cotti-Piccinelli - Melange Creperie - Mitchell Cumming Michael Dee Jason David Michael Decker Jeremy Deprez - James Diedrich Kunst Fashion Sebastian Forray - Francis Giampietro - Jason Giroux - Alyssa Gorelick Deva Graf Karen Lofgren Julia Hechtman Geoff Hippenstiel - Laurent Impeduglia - Jon Irving 107

Chuck Ivy - Rachel de Joode Natali Leduc Louisa Van Leer Aimee Lusty - Grant MacManus - Dashiell Manley Brian and Stevie McCord Abinadi Meza - Ivan Monforte Frederique de Montblanc TV Moore Andrea Mouth Mark Nasso - Kia Neill - Richard Nix Amy Patton PERSUASION - Eduardo Portillo Brittney Ragsdale Jorge Rojas - Raphael Rubinstein - Melissa Scherrer Mindy Rose Schwartz Bret Shirley Hana Shoup - Slab - Terry Sprean - Endless Blinding Sunshine - M’Kina Tapscott T.E.F - Jason Underhill Tala Vahabzadeh Thais Verissimo 108

Concrete Violin - Max Warsh Chris Wilder Chin Xaou Ti Won Ze’r0-sum -’r0-sum.htm Martin Zet -


Collaborative Projects online Emergent Behavior - American Rifle 3 - Low Lives 2 -

Collaborative supporters boheme - El Rincon Social - GreeniRecycling - Infinite hangout - Neurolinx - Poison Girl - Spacetaker - University of Houston School of Art - ‌might be good -

Online Reviews ...might be good - artslant - the great god pan is dead - 29-95 -

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the temporary space  

A compilational record of projects and activities at the temporary space, an alternative art space.

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