42 Walker st

New York

10013

United States

Kenneth Goldsmith’s  "I Declare a Permanent State of Happiness"

OPENING: Tuesday March 7 • 6 - 8pm PERFORMANCE: LIVE MUSIC BY JOHN ZORN

Exhibition run dates: March 8 - April 5, 2023 • 6 - 8pm


The Opening Gallery and ERIS ART are pleased to present Kenneth Goldsmith’s critically-acclaimed I Declare a Permanent State of Happiness. The exhibition coincides with the release a beautifully produced second edition of the book, and a signed limited edition, as well as a series of numbered prints.

I Declare a Permanent State of Happiness is a re- markable engagement with one of the most impor- tant philosophical works of the twentieth century, Wittgenstein’s Tractatus Logico-Philosophicus.

Written as a series of numbered propositions, Witt- genstein’s treatise is an ambitious attempt to elu- cidate the relationship of language to logic and to reality. Goldsmith’s response to the text is a testament to the highly distinctive artistic vision that characterizes all of his work. Inspired by the Tractatus but also boldly inventive, Goldsmith’s images reveal the breadth and depth not just of Wittgenstein’s genius, but also of the intervening artist’s creative fervor.

Collages, drawings, sketches, handwritten com- ments, blacked-out and blanched text, shopping receipts and scans-within-scans – these are some of the techniques that appear in this body of work. The exhibition will put on display the most dazzling of the original artworks reproduced in Goldsmith’s book. Innovatively presented in the Opening Gal- lery’s stunning exhibition space, this is a unique opportunity to witness an extraordinary form of creative and intellectual dialogue. The exhibition is curated by Sozita Goudouna and Alex Stavrakas.

Original works, as well as the second edition of I Declare a Permanent State of Happiness will be available for sale, together with copies of a deluxe limited edition of the same book, and prints.

 

Kenneth Goldsmith lives and works in New York City. He teaches writing at the University of Penn- sylvania. In 1996, he founded UbuWeb (http://ubu. com), the largest site for the free distribution of avant-garde materials, and in 2013 he was named as the inaugural Poet Laureate of the Museum of Modern Art in New York. In addition to I Declare a Permanent State of Happiness, his books include Wasting Time on the Internet and Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb, the latter of which was awarded the 2020 Prix François Morellet.

The Opening Gallery was launched as an initiative that supports contemporary art and international artists beyond the confines of the art market, while it fosters cultural engagement and exchanges between the US and the globe. This alternative art ecosystem attempts to go beyond prevalent gallery models and to showcase global underrepresented artists, and the work of women artists and artists of color. 50% of the proceeds support neurodiversity and charitable causes, and 25% of the proceeds are donated to the non-profit Luv Michael, which is committed to en- riching the lives of autistic adults.


Goldsmith’s recent artistic works are among the most powerful and provocative to have appeared in the last few years. HILLARY: The Hillary Clinton Emails was displayed in conjunction with the Ven- ice Biennale at the Despar Teatro Italia in 2019. It turned the seemingly banal act of printing out the former presidential candidate’s leaked emails into a widely discussed installation that was as notable for its conceptual brilliance as for its underlying political statement. Goldsmith’s ongoing project Retyping a Library was displayed at the Lofoten International Art Festival in 2022.

ERIS ART is the art branch of independent publish- er ERIS PRESS based in London and New York. The press publishes art, literature, and nonfiction, with a particular emphasis on politics and philosophy. Re- cent and forthcoming titles include Maurice Saatchi’s memoir Do Not Resuscitate: The Life and Afterlife of Maurice Saatchi, Andreas Philippopoulos-Mihalopou- los’s short story collection Book of Water, Walter Benn Michaels and Adolph Reed, Jr.’s No Politics but Class Politics, Gabriele Tinti and Andres Serrano’s Confessions, and Thomas Schlesser’s biography of the Norwegian artist Anna-Eva Bergman.

Press Contact: Angus Ledingham, angus@eris.press


A/TYPICAL NOW

February 9 - March 4th 2023 
Participating Artists: Yuli Aloni Primor
Elena Bajo
Lena Christakis
Ronan Day Lewis
Maria Louizou
Ioanna Pantazopoulou
Costa Picadas
Anna Samara
Sagarika Sundaram
Iria Vrettou 
Woozy
Agni Zotis
.
Tuesday  - Saturday 12 - 6pm

On Saturday March 4th 2023 the Opening Gallery will present ATYPICAL:: FURTIVE SPEECH ACTS, a day of performances and poetry readings to celebrate the closing of the gallery's current exhibition ATYPICAL.


There will be a performance by Elaine Angelopoulos from 4-5pm.Then at 6:30 there will be a poetry reading with Brittany Adames, Bahaar Ahsan, Christina Chalmers, Rachel Stuart, Leda Koutsodaskalou and Jackie Abhulimen. This event is co Curated by Sozita Goudouna, Terrence Arjoon, and Adam Brown. 

Bahaar Ahsan is a poet from the Bay Area living in New York City. She is the author of Gay Girl Hyacinth (Eyelet 2021).


Brittany Adames is a Dominican-American writer. Her work has been nominated for the Pushcart Prize and featured in Half Mystic, Palette Poetry, Vagabond City, Rust+Moth, and elsewhere. She is an MFA candidate in poetry at Brooklyn College.


Christina Chalmers is a poet, translator, and researcher, and her new book Subterflect is forthcoming from Distance No Object Press. Other chapbooks include Truant of the Stintless Sun (1080), and willingness (materials).


Elaine Angelopoulos lives and works in New York City. She is an artist with an interdisciplinary approach that bridges her studio practice with audience participation, with select installations and performances. Her work has been exhibited in New York, the United States, and in Europe. Angelopoulos received a Franklin Furnace Fund/Jerome Fellowship in 2014/15. Recently, she performed for POPc, an organization that fosters dialogue about philosophy.


Jackie Abhulimen is a writer, scholar and activist from Athens, Greece and currently living in New York City. Her activism in dismantling the inequities that shape the migrant experience in Europe has been featured in the New York Times, Aljazeera, NPR to name a few, and in local Greek press. She has given speeches in the Greek Parliament, served on the Greek National Council Against Racism and Intolerance, and presented in conferences across Europe. She now works in cultural programming, writes on diasporic culture and practice and is currently working on her first manuscript of poems.


Leda Koutsodaskalou is an actor based in Athens and New York. She just graduated from Tisch School of the Arts with an MA in Performance Studies. Among others, she has collaborated with The National Theater of Greece, the National Theater of Northern Greece, The Athens and Epidaurus Festival and Stegi Onassis Cultural Center. Her last film credit is Midnight Skin by Manolis Mavris that is going to premier in May.


Rachel Stuart is a poet living in Brooklyn. She writes on a typewriter.


Wet Conceptualism

The Opening Gallery
42 Walker St.
New York City
Opening date: Tuesday, December 13, at 6 – 8PM
Dates: December 13, 2022 – February 7, 2023

Participating Artists: Coleman Collins, Constance DeJong, Jimmie Durham, Charles Gaines, Leslie Hewitt, Agnieszka Kurant, Olu Oguibe, Jimmy Raskin, Martha Rosler, Allen Ruppersberg, Chrysanne Stathacos, Carol Szymanski and others.

Curated by Warren Neidich and Sozita Goudouna 


WET CONCEPTUALISM aims to establish a category of conceptual art called Wet Conceptual Art. As there was no category of Wet Conceptual Art at the time of conceptual art’s invention, the works that would be understood here to fulfill its requirements were either included in the canon of Dry Conceptual Art, as a default gesture, or left out completely. Dry Conceptual Art is that form of conceptual art that we are most familiar with, as it was elucidated in Lucy Lippard’s and John Chandler’s essay The Dematerialization of Art.  Wet Conceptual Art has different sources than traditional Dry Conceptual Art. While Dry Conceptual Art emerged from the ready-mades of Marcel Duchamp such as the Bicycle Wheel of 1913-1916, or the proto-minimalist paintings of Kasmir Malevich such as Black Square, 1913 as well as the Lettrism movement of Isidore Isou, Wet Conceptual Art emerged from the collective works of Francis Picabia (especially his work The Caodylic Eye,1921) the soft sculptures of Meret Oppenheim—especially Fur Covered Tea Cup, Saucer and Spoon, 1936—Situationism’s emphasis upon mapping and the time based, comedic and sometimes graphic works of Fluxus Art. Whereas Sol Lewitt, especially his early work, Joseph Kosuth and Lawrence Weiner were the strongest advocates of Dry Conceptualism at its inception, artists like Adrian Piper, Yoko Ono, Martha Rosler, Bas Jan Ader and the curator Seth Seigelaub were the secret trail blazers of Wet Conceptualism. Both Wet and Dry Conceptualism were born in the heyday of the 1960’s counterculture as a response to the revolutionary spirit of the time. For several reasons, which this exhibition will attempt to clarify, Wet Conceptualism was subsumed by Dry conceptualism and would have to await until now for the right entanglement of certain social, political, economic and technological relations to make its voice known. Wet Conceptual Art is not so much about the immaterial object as it is about precarious and immaterial labor characteristic of the cybernetically inflected information and knowledge economies and as result performance and the poetic are emphasized. Both Dry and Wet Conceptual Art stressed the importance of indexicality above and beyond representation, but their modes of presentation differed since Dry Conceptualism was usually presented as black letters on a white background while Wet conceptualism was polychromic. Both forms considered consumer society’s misuse of language as a call to arms. However, Wet conceptualism went one step further in understanding language’s innate complicity with patriarchy, racism, and sexism.  While Dry conceptualism was Eurocentric and patriarchal, Wet Conceptualism stresses a global, post-humanist outlook. Dry conceptual art was withdrawn, restrained and cold while Wet Conceptualism is engaged, hot, and vital. Dry conceptualism stressed an economy of means as a reductivist attitude which was connected to Minimalism while wet conceptualism engaged with a more maximalist and anarchic approach to everyday life. Instead of following the edicts of German Idealism, Wet conceptualism found its precedents in materialism. In most instances, Dry conceptualism abhorred what it referred to as “stupid painting” because of its retinality: the assumption, based on many statements of Marcel Duchamp’s that painting was absorbed with the sensual rather than the rational which pertained to the grey matter of the brain. Wet conceptualism embraces the wet painterly surface as a space to investigate the conceptual basis of emotions, feelings and affect which have become important in the new economy of emoji’s and Big Data. In other words, Wet conceptualism is a new methodology of artistic hermeneutics or interpretation conceived for its time. Dry conceptualism is about a binary dichotomous viewpoint, and stresses gestalt psychology while wet conceptualism is more non-binary and engaged with perception in action or what are called affordances. Finally Wet Conceptual Art is linked to the concept of wetware used to describe neural based computational systems because they are full of salt water whereas dry or crunchy are terms used to describe artificial intelligence run by digital computers.  


For more information concerning Wet Conceptualism please go to http://wetconceptual.art/ 

The Opening Gallery was launched in the summer of 2022 as an initiative that supports contemporary art and international artists beyond the confines of the art market, while it fosters cultural engagement and exchanges between the US and the globe. This alternative art ecosystem attempts to go beyond prevalent gallery models and to showcase global underrepresented artists, and the work of women artists and artists of color. The gallery is managed by an independent non-profit contemporary art organization and it is located at 42 Walker st in Tribeca. Exhibitions include visual and performing arts, music events, with public programs spanning a wide range of topics also focusing on mental health. The Opening Gallery has monthly public programming and educational activities. Admission is free. *50% of the proceeds support neurodiversity, charitable causes, and 25% of the proceeds are donated to the non-profit Luv Michael which is committed to enriching the lives of autistic adults. 


Charles Gaines | Agnieszka Kurant | Warren Neidich 

Jimmy Raskin presents a short film on his work, followed by a Discussion

Friday the 27th of January at 6:30

Screening and discussion of Miguel Abreu’s 1991 short film,which captured Jimmy Raskin on the eve of his new role as the ‘Documentarian of The Poetic Impulse.’ Abandoning art making as he knew of it, in this film Raskin contemplates his new role as “lecturer / performer,” which would define his expressive career for years to come.

Jimmy Raskin’s work is included in the galleries current exhibition, Wet Conceptualism Curated by Warren Neidich and Sozita Goudouna. For more information on Wet Conceptualism please go to http://wetconceptual.art/

Jimmy Raskin (b. 1970, Los Angeles) lives and works in New York. A graduate of the California Institute of the Arts, Raskin has exhibited his work internationally and staged “lecture-performances” in institutions, art galleries and other non-traditional gathering places since the mid-1990s, notably at the P.S.1 Contemporary Art Center, Thread Waxing Space, Foundation 2021, Greene-Naftali, Cooper Union, Miguel Abreu Gallery, SculptureCenter, as well as at the Centre Pompidou, Paris, Real Art Ways, Hartford, The Swiss Institute, Paris, and KW Institute for Contemporary Art, Berlin.




David Maroto
On The Artist's Novel

Wet Conceptualism: Perspectives from the Global South

Syd Krochmalny and Carlos Huffmann in discussion.

Moderated by Sozita Goudouna and Warren Neidich

 

Saturday, February 4th, 2023, 2 pm

Opening Gallery

42 Walker Street

New York City, New York

 

www.wetconceptual.art

 

 

Global Conceptualism: Points of Origin 1950s-1980s took place at the Queens Museum in 1999 curated by Queens Museum Director of Exhibitions Jane Farver, the artist Luis Camnitzer and Rachel Weiss Professor at the New School. It contained over 200 works by artists all over the world with the purpose to understand conceptual art in its broader context. As it states on the Queens Museum website, the show was meant to “question the hegemony of the object over ideas in art, critique the way art is institutionalized both in museums and in modern economies, and find a new role for art and the artist in society by involving art in social and political protest.”  Wet conceptualism shares many of these concerns but recontextualizes them in the context of cognitive capitalism in which the brain and mind are the new factories of the 20th century and the importance of immaterial labor subsumes the importance of the dematerialized object. Today we are overwhelmed and suffocated by immateriality and a material rebuttal is necessary as a form of dissensus. Our generalized intelligence has been reconfigured in our world of deep learning neural networks, robotics and wet ware.  Wet conceptualisms interest in ecologies of knowledge is the starting point to engage with Global Conceptualism through the experience of our two guest artists from the global South in an attempt to relinquish the aporias of Dry Conceptual art.
 

Carlos Huffmann is an artist and director of the Art Department of the Torcuato Di Tella University. He served as the main professor of the Work Analysis Seminar within the Artists Program during 2017, 2021, and 2022, and regularly teaches classes both in the Artists Program and in undergraduate courses at Torcuato Di Tella University. He graduated with a Bachelor of Business Economics from UTDT (2001) and the California Institute of the Arts (CalArts)-Master of Fine Arts, School of Art (2005). He was the editor of the art section of the online magazine Otra Parte Semanal. He regularly publishes texts about art in various media, such as Otra Parte, the Radar supplement of Página 12, artists’ books, and various blogs, among others. In 2020, the first monographic book on his work was published: Strange Ruler for a Heart. His main individual exhibitions are “Compostasmas” (2022, Ruth Benzacar Gallery, Buenos Aires), “Hito de Frontera” (2019, Art Week, BA), “Recursiva” (2018, Constitución Gallery, BA), among others.

 

Dr. Syd Krochmalny is an artist, curator, writer, researcher, musician, and Professor of Arts, Literature and Social Sciences. His multimedia work has been exhibited at the Reina Sofia Museum, Harvard University, David Rockefeller Center, the Malba, the Americas Society, Cultural Center of Memory Haroldo Conti, Remembrance Park, University of Oslo, Universidade Federal do Rio de Janeiro, MAC de Niteroi, Pinacoteca San Pablo, The University of Edinburgh, Museum of Contemporary Art in Buenos Aires, and the Guggenheim, among others. Syd has published Diarios del Odio (Journals of Hate, 2016), Débil (Weak, 2017), Los Sueños (The Dreams, 2018), El Tamaño de mi mundo (The Size of My World, 2021), Ramona, debates en el arte al filo del Milenio (Ramona, Debates in the Art on the Edge of the Millennium, 2021), and he wrote a prologue for Crypto Currency and Sovereignty (2022), among others. Syd was a part of several magazine projects, including editor of the magazine and subsequent book, ramona, co-founder and editor of the magazine, Jennifer, and co-founder and editor of the CIA magazine for the Center for Artistic Research (CIA), an Artist Program and a Masters Program on Latin American Art in Buenos Aires where Syd Krochmalny was Professor, the Pedagogical Director, and International Relations. Syd was a Postdoctoral Researcher at Columbia University. Syd is the Director of Barro in New York

Warren Neidich is an artist, theorist and curator who works between New York City and Berlin. He is founder and director of the Saas-Fee Summer Institute of Art which will concern Apparatus, Apparatus, Apparatus in collaboration with the Brooklyn Rail. His work,The Statisticon Neon, is on view in the exhibition Singing in Unison curated by Phong Bui and From the Society of the Spectacle to the Consciousness Industry at the Taipei Digital Arts Festival, Taipei, Taiwan. Neidich’s An Activist Neuroaesthetic Reader was just published by Archive Press, Berlin.


Collective Brain

      


October 4th - November 27, 2022

Opening Tuesday October 4th, 6-8PM

 

The Opening Gallery

42 Walker Street, New York

http://theopeninggallery.com

 

 

Opening Gallery is pleased to announce Collective Brain, a group exhibition of works by Alina Bliumis, Jeff Bliumis, Veronique Bourgoin, Alexandros Georgiou, Mat Chivers, Raúl Cordero, Yioula Hadjigeorgiou, Steven C. Harvey, Peggy Kliafa, Artemis Kotioni, Jessica Mitrani, Paula Meninato, Eleni Mylonas, Margarita Myrogianni, Warren Neidich, Alexander Polzin, Dan Reisner, Juli Susin, Dimitris Tragkas, Adonis Volanakis, Hans Weigand, Vasilis Zarifopoulos curated by Dr. Sozita Goudouna. Installed across the first floor of 42 Walker St, Collective Brain attempts to challenge our perception of mental processes with an arrangement of corporeally provoking art pieces, connecting artists who work in divergent media and are convening from diverse localities.  

Contemplating the notion of the mind as a mechanism – a brain system responsible for spatial memory and navigation – Collective Brain offers different viewpoints about the brain and its million neurons by centering neurodiversity as the fundamental concept about how we can understand the physical and biological origins of human emotion in the brain, as well as the conception, exhibition, and reception of the artworks. A section of the exhibition also attempts to comprehend and challenge perceptions about the operations of the non-human brain.  

The revolutionary field of optogenetics allows us to decipher the brain's inner workings using light, however, we still seem to know little about the human mind and certain theorists argue that it is much too complicated to be controlled, while brain and electrostimulation experiments of the 60s and 70s were often unable to clarify which parts of the brain are stimulated by stimoceivers or electro-magnetic radiation.  

Further to the notion of mind control, current scientific research attempts to illuminate the biological nature of our inner worlds and our “projections” namely the ways aspects of the self are experienced by the individual as residing outside the self (Deisseroth K.). Drawing from Santiago Ramón y Cajal, the founder of modern neuroscience, and his claim that “knowledge of the physicochemical basis of memory, feelings, and reason would make humans the true masters of creation, that their most transcendental accomplishment would be the conquering of their own brain,” the exhibition attempts to trace the visualization of the brain's inner circuitry with a deep empathy for mental illness.  

Cajal ventured into science as both an artist and a pathologist, while he became the first person to see a neuron. The scientist visualized the inner workings of the mind with thousands of stunning pen-and-ink diagrams and his exquisite, meticulous drawings of neurons in the brain and spinal cord proved that every neuron in the brain is separate and that neurons communicate across synapses.

There is an on-going parallel between the ‘visualization of the brain’ in the scientific and in the artistic domains and a fascination with the visualization of the neurons, but how can this visualization help us understand the invisible synapses of the collective brain and especially the ways human societies can resist mind control with actual free will.