White Columns


White Columns Online: 'Full House' curated by Elizaveta Shneyderman

This exhibition is the first in a series of online exhibitions; this exhibition was curated from White Columns' Artists Registry.

Full House is an amalgam of mangled forms, an online inventory concerned with “Thingification”. To quote feminist-informed theorist Karen Barad:

Thingification—the turning of relations into “things,” “entities,” “relata”—infects much of the way we understand the world and our relationship to it. Why do we think that the existence of relations requires relata? Does the persistent distrust of nature, materiality, and the body that pervades much of contemporary theorizing and a sizable amount of the history of Western thought feed off of this cultural proclivity? (Barad, Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter, pg. 130)

Trend forecasters correctly predicted the era of post-postmodern symbolic relata to end in 2042. That year, the Westminster Kennel Club released a new set of breed standards accounting for the seventeen new American Pit Bull Terrier-based breeds. The unanticipated difficulty of phenotype mapping in domestic dogs has led to an increase in genetic activism; protestors with signs that read “BREEDING IS RUFF, MY MUTT IS PAWFECT” and “EUGENICS IS MUTILATING OUR BEST FRIENDS” gather around kennel clubs across the continent to spurn pedigree. Pro-Mix party manifestos begin: Given that language historically configures human subjectivity in the legacy of the West, nonhuman agency emerges out of irony! Historical evidence suggests the activists are barking up the wrong tree.

Still, the Pro-Mix manifesto sounds more infatuated with jargon than concerned about pup-goodwill:
Discernment consistently renders a subject, a subject.
Any apparatus for seeing deserves scrutiny.
The apparatus of seeing has the potential to refute theoretical exclusivity if being empathic is conflated with making assumptions!
An empathy infrastructure may henceforth consider this componentry: assumptions all over the place bodies in space.

Others are not actors. Dogs are not surrogates.  To be especially concerned at the precise intersection of language and signification is to consider exchange in its symbolic processes, to do due diligence to arbitrary factors. Still, it’s not quite right. 

 - Elizaveta Shneyderman

Participating Artists Include:
Jonathan Ehrenberg
Dolly Faibyshev
Grant Foster
Tatyana Gubash
Toru Hayashi
Alex Ito
Dustin London
Paul Rouphail
Gary Preston Schmitt
Christian Weidner

For more information:  registry.whitecolumns.org

Elizaveta Shneyderman is an independent curator, artist, writer living in New York.  
 
elizavetashneyderman.com

Dolly Faibyshev
Orange Lady and Boxer, 2010
Photography
20 x 40 in.
Courtesy of the artist

Dustin London
One Year, 2016
Oil on canvas
42 x 35 in.
Courtesy of the artist

Paul Rouphail
Rondo, 2016
Oil on linen
35.25 x 49 in.
Courtesy of the artist

Toru Hayashi
Equivocal Landscape Vol. 63-45/8.12.2014
Micro pigment ink on paper
5.9 x 8.25 in.
Courtesy of the artist

Paul Rouphail
Schematic (1, 2, 3, 4), 2016
Gouache on paper in artist’s frame
22.5 x 22.5 in.
Courtesy of the artist and Smart Objects, Los Angeles

Tatyana Gubash
"The Great Indoors", 2016
Oil on linen
12 x 12 in.
Courtesy of the artist

Grant Foster 
Porc, 2016
Collage, glue, pigment on canvas
80x70cm
Courtesy of the artist

Alex Ito
I’ve Only Ever Known Evil, 2016
Mechanical mannequin, glass, wood, aluminum, resin
Dimensions variable
Courtesy of the artist

Jonathan Ehrenberg
Still from 'Bad Tools', 2016
HD video
2:37 minutes
Courtesy of the artist

Gary Preston Schmitt
You Are Out There All Alone, 2016
Wood, vinyl, embroidery 
90 in. x 43 in. x 18.5 in.
Courtesy of the artist

Gary Preston Schmitt
You Are Out There All Alone (detail), 2016
Wood, vinyl, embroidery 
90 in. x 43 in. x 18.5 in.
Courtesy of the artist

Christian Weidner
LION Killer !, 2016
Mixed media collage
25 x 38 cm
Courtesy of the artist

Christian Weidner
contemporary girl power, 2014
Oil / Paper on canvas
37 x 18 cm
Courtesy of the artist