Blvd. M. Lemonnier 167 M. Lemonnierlaan; Bruxelles 1000 Brussel;
Simon Thompson – saturday, 14 – 27 September, 2014
Hans Friedrich Lissmann – Guten Morgen, 16 November – 21 December, 2013
Shelly Nadashi – A Good Bowl of Soup, 2 – 23 March, 2013
Sam Pulitzer, 29 September – 27 October, 2012
Jana Euler – How to be more than one three paintings, 2/3 June, 2012
Loretta Fahrenholz – Europa, 30 October – 20 November, 2011
Nicola Brunnhuber, Michael Part, 1 – 28 May, 2011
Michael Callies – Alternatives Leben, 2 – 15 February, 2011
Georgia Sagri – One, 12 – 31 December, 2010

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!ADMIN 27/09/2012 (Thu) 13:35:37 No.2850  
Opening 28 September, 2012, 8 pm

29 September – 27 October, 2012
On Saturdays from 2 pm – 6 pm and by appointment

a constellation of recent (2008-2012) albums and EPs that have encountered the idea of hardcore in some manner and that are to be resold with an art twist. some of these albums walk away from this encounter "matured:" shamed by its adolescent passions, one problematizes their taste palette to stomach more distinctive flavors, cultivating a reordered lifestyle that levies a claim of metamorphosis, made either by themselves or others ( perhaps the genesis of cringe worthy genre portmanteaus such as cold wave, americana-themed neofolk, experimental post hardcore, blackened d-beat, etc.?). whereas others in this cluster remain in this nominal frame, preferring to see what excitement this hashtag still bears after years of use, to exercise an origin with the diremptions of its age. regardless of this slight yet distinctive fissure, a thread is connectible throughout them, a transitive ground on which circles may be etched. if one of these albums were posted for resale on ebay, a number of others would follow suite in the lot's title as a search engine catch-all.

these albums bear a certain locality to nyc (several of the bands call this place home), yet it is one topologized in part by the threads generated by online discussion forums such as doomed forever doomed, pure stench or, to a lesser extent, nuclear war now as well as by more personalizable networks such as tumblr, discogs, spotify, last.fm and deviantart. so with the intensification offered by all this social media, this locality is non-exclusive and can appear anywhere affinity is possible to situate (a good european example would be the idea of a scene propagated by copenhagen bands iceage / lower / sexdrome ). This is one reason why people tour and this is also a reason why it is sometimes convenient to think this circulation of bodies via language throughout the globe through its example, (how many scenic surfaces loop through the microscopic depths of a record's rotating grooves?). and so, these cultural manifestations, insufflated by a DIY independent spirit, are presented in supplement to something sensed as contemporary art. passing over the luxury object distinction that foments these arts' respective collectors, might the media determinations of this stylized constellation be conterminous to those that situate the idea of "emerging contemporary art" and broker its market exchange potential?

these albums, with the stiff vinyl of their insides, the passionate images of their covers and glossy transparency of their plastic sleeves, offer a convenient frame for drawings, artistic product that i can peddle as my own. Backed by the vinyl, matted with their artwork and protected by the sleeve these drawings riff on cosmic imagery, granted at varying degrees of excersion. this is a self-indulgent delusion but I like to think them a hybrid of a series of bruce connor's output: the punk documents of the 80s (without a camera, i have seen a great deal of these bands perform), all those psychedelic ink drawings (mine of course settle for a more pedestrian, business hippie illustrative-style), and topped off with a garnish of the early assemblages (instead of weathered pantyhose, plastic record sleeves).

Altogether, these drawings and their constellated frames are offered as pathetic indexes of a struggle for pleasure, affections potentialized by consumer-based culture's environmentalizing media. Records close to the heart of many (namely the makers who have optioned their life along its creation) these are devices to commensurate feeling, those pangs of otherness (suffering being the primary feeling of these records), means to harmonically cohere its revolving distances and intimacies. yet these are records that i hold at an arms length away for no immediately justifiable reason other than for perhaps an autoparanoid discomfort generated by their implicit connectivity, a discomfort perhaps akin to a compulsive avoidance of eye contact during conversations. and so as they are held up at certain distance by my arm (framed, or rather offered as frames), in the end they find censure with the products of my hand, an organ whose trust—masturbation jokes included—I often cannot fathom.

albums included for resale are:

Avon Ladies, Guns & Gold, Katorga Works, 2012, 7" EP

The Body, All the Waters of the Earth Turn to Blood, Aum War, 2010, 2xLP

Cirrhus, s/t, CW Productions, 2011, 7" EP

Cult of Youth, s/t, Sacred Bones Records, 2011, 12" LP

Dog Leather, Greezy Man and Stinky Man Meets Smutty Ranks on Tarantula Hill, Ehse Records, 2011, 12" LP

Dolorvotre, s/t, Ajna Offensive/Crepúsculo Negro, 2012, 12" LP

Goosebumps, I Hate My Body, Burn Books, 2012, 7" EP

Ives, Abandon, Prison Tatt Records, 2011, 12" EP
http://www.thelefthandpath.com/lefthandpath/index.cfm/event/read/entry/Year_End_Blah_2011_Solicited_Unsolicited_lists (scroll down to tyler davis)

King Dude, Tonight's Special Death, Avant!, 2011, 12" LP

Raw Nerve, Midnight, Youth Attack, 2011, 7" EP

Satan's Satyrs, Lucifer Lives, Emptiness Productions, 2010, 7" EP

Slang/Mind Eraser, s/t split release, 540 Records, 2010, 7" EP

Vile Gash, Deluded, Youth Attack, 2011, 7" EP

White Medal, s/t, Grief Foundation/Legion Blotan, 2008, 7" EP
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