Artist: Christophe Charon, Feminist Land Art Retreat, Matthew Linde, Lucia Elena Prusa, Min Yoon, Anna-Sophie Berger
Exhibition title: Dead Letter Office
Organized by: Anna-Sophie Berger
Venue: JTT, New York, US
Date: June 19 – July 30, 2016
Photography: Marie Catalano, all images copyright and courtesy of the artists and JTT, New York
“For the date of my own birth, I repeat, my own birth, I have never forgotten, I never had to note it down, it remains graven in my memory, the year at least, in figures that life will not easily erase. The day itself comes back to me, when I put my mind to it, and I often celebrate it, after my fashion, I don’t say each time it comes back, for it comes back too often, but often. Personally I have nothing against graveyards, I take the air there willingly, perhaps more willingly than elsewhere, when take the air I must. The smell of corpses, distinctly perceptible under those of grass and humus mingled, I do not find unpleasant, a trifle on the sweet side perhaps, a trifle heady, but how infinitely preferable to what the living emit, their feet, teeth, armpits, arses, sticky foreskins and frustrated ovules. And when my father’s remains join in, however modestly, I can almost shed a tear. The living wash in vain, in vain perfume themselves, they stink. Yes, as a place for an outing, when out I must, leave me my graveyards and keep-you-to your public parks and beauty-spots. My sandwich, my banana, taste sweeter when I’m sitting on a tomb, and when the time comes to piss again, as it so often does, I have my pick. Or I wander, hands clasped behind my back, among the slabs, the flat, the leaning and the upright, culling the inscriptions. Of these I never weary, there are always three or four of such drollery that I have to hold on to the cross, or the stele, or the angel, so as not to fall. Mine I composed long since and am still pleased with it, tolerably pleased. My other writings are no sooner dry than they revolt me, but my epitaph still meets with my approval. There is little chance unfortunately of its ever being reared above the skull that conceived it, unless the State takes up the matter. But to be unearthed I must first be found, and I greatly fear those gentlemen will have as much trouble finding me dead as alive.”
(Samuel Beckett: First Love)
Lucia Elena Prusa, Window 1, 2016
Pigments, graphite, paper, aluminum, glass
15.75 x 23.6 x 1.5 in, 40.01 x 59.94 x 3.81 cm
Anna-Sophie Berger, 26th June, 2015
Highlighter, pencil, inkjet print on paper
15.75 x 11.8 in, 40.01 x 29.97 cm
Lucia Elena Prusa, Uniform, 2016
10 aluminum rings, Size 5, Size 6, Size 7, Size 8, Size 9, Size 10
Anna-Sophie Berger and Lucia Elena Prusa, Pandora, 2016
94 pages, 8.5 x 5.5 in, 21.59 x 13.97 cm
Lucia Elena Prusa, Window 2, 2016
Pigments, graphite, paper, aluminum, glass
15.75 x 23.6 x 1.5 in, 40.01 x 59.94 x 3.81 cm
Lucia Elena Prusa, Window 3, 2016
Pigments, graphite, paper, aluminum, glass
15.75 x 23.6 x 1.5 in, 40.01 x 59.94 x 3.81 cm
Anna-Sophie Berger and Lucia Elena Prusa, untitled, 2016
Footprints, dimensions variable
Anna-Sophie Berger, bruise, 2016
Print on vinyl, 11.8 x 11.8 in, 29.97 x 29.97 cm
Feminist Land Art Retreat, Heavy Flow Film Poster (Timeless), 2016
Watercolor and UV ink on digital print
60 x 40 in, 152.4 x 101.6 cm
Feminist Land Art Retreat, Heavy Flow Film Poster (EXPLOSIVE), 2016
Watercolor and UV ink on digital print
60 x 40 in, 152.4 x 101.6 cm
Min Yoon, Untitled, 2016
Pig skin, thread
0.25 x 55 x 12 in, 0.64 x 139.7 x 30.48 cm
Min Yoon, Untitled, 2016
Pig skin, thread
0.25 x 55 x 12 in, 0.64 x 139.7 x 30.48 cm
Christophe Charon, The Wilderness of System “Yesterday is presently disintegrating as innocent aspects of honest room explode. Lines have never been rules – I appear stable. Future and I surrender. Still currents and dropsical European wasteland.” – Katerine Niedinger, 2016
7 archival pigment prints on Hammermühle paper in aluminum industrial frames, 23.4 x 49.6 in, 59.44 x 125.98 cm
Matthew Linde, dress, 2013
Metal dress form, dress, paint, Dimensions variable
Anna-Sophie Berger, she vanished (S.B.), 2016
Silk, thread, mud, dimensions variable