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Shulamit Nazarian is pleased to present The future perfect will have arrived, a group exhibition curated by New York-based artist Bridget Mullen. Featuring works by Lucas Blalock, Lindsay Burke, Sophia Flood, Autumn Knight, Dana Lok, and Kenny Rivero, the exhibition will run concurrently with Mullen's solo exhibition Sensory Homunculus.
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For The future perfect will have arrived, Mullen joins together artists working across painting, drawing, photography, collage, sculpture, and performance for their unwavering dedication to pursuing questions over solutions. Regardless of the relative distances between the artists’ ideas, aesthetics, and resulting works of art, the exhibition points to an attentive caring for curiosity mediated through process and the possibilities such faith in inquisition affords.
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The future perfect will have arrived, curated by Bridget Mullen
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Dana Lok’s work often depicts stage sets, platforms, tables, tablecloths, desktops, or grassy grounds on which she can divulge, spread, slice, feast, and suss out the working parts of tangly propositions. Often she incorporates flexible, varied words into the structure of her compositions, pushing language’s relativity. Written language within the intermediary of the two-dimensional plane begs questions and, coupled with the images, creates an index: a structure to parse out the players. In Predictive Knit, something like bruises rubbed into the paper interrupts the precise rendering of irregular stitches. The words “precede” and “follow” in the drawing give it a feeling of interplay and recontextualizes action and reaction—the experience of choice and what feels like the opposite of it. Forms tug at each other, cast nets, overshadow, and bind, generating a much more imaginatively poetic and multidimensional rendering of cause and effect.
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Lucas Blalock uses materiality as consistent indicators in his photographic constructions, and I suspect his overall process is purposely varied to change up the results. Through his digital tools of stamping or smudging to create iterations, things can get pushed into comically illogical, exhilaratingly ridiculous, or darkly charming pitches. In Film-Object (Potato), he flips his typical structure of distorting and reconstructing forms in 2D to 3D via a kinetic sculpture—a sluggish zoetrope-type carousel of pictures of a potato on a table. Because something is nameable doesn’t mean its only assignment is language—numbers, dirt, potatoes, or even faces for that matter, can be both pure shape without a guarantee of symbolism, and be chosen for their connotations. The repetition and motion is inherently alluring. It harbors a tension from the looming promise of meaning that doubling down on an original implies.
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More than revealing meaning, these works offer suggestions for how to proceed. We cannot be expected to know or encapsulate everything now. Some anti-animation, some ritual, some lesson, some care, some asteroid portrait, some android, some stage, some ghost—these inventions call out the slipperiness of expectation and knowing.— Bridget Mullen
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The future perfect will have arrived, curated by Bridget Mullen: Lucas Blalock, Lindsay Burke, Sophia Flood, Autumn Knight, Dana Lok, Kenny Rivero
Past viewing_room