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Imperceptibly and Slowly Opening opens at VOX POPULI

Sector’s 2015 fall exhibition, Imperceptibly and Slowly Opening, opens this Friday, May 5th at at Vox Populi in Philadelphia along with Jesse Harrod’s “Toxic Shock and the Hot Dog,” Matt Kalasky’s “All Time Top Phonies,” Julia Staples’ “Your Best Life Now,” and FOURTH WALL: Gunnar Jónsson’s “They long to be (close to you)”

Vox Populi is open to the public Wednesday through Sunday from 12pm to 6pm.

VOX POPULI, 319 NORTH 11TH STREET, 3RD FLOOR, PHILA., PA 19107

About the Exhibition: Responding to a new field of critical thought, Imperceptibly and Slowly Opening uses the group exhibition format to explore the strangeness of plants, and how they trouble human structures. Vegetal life forms are banal in their ubiquity. Undeniably alive, yet silent, they creep upwards, their roots submerged and out of human sight. Like anarchists protesting order, weeds break through concrete. Plants challenge theoretical logic as well; they can be both one and many: Aspen trees growing on a hillside share a single root system. Plants have occupations and desires: engaged in constant growth, they spread out with a will to consume and occupy space. Studies confirm that plants communicate and communicate and activate built-in chemical defense mechanisms to ward off predators. Some even move visibly: Mimosa plants close in on themselves when touched by a human finger. This would suggest some kind of sentience, but what would the character of that sentience be? How do we quantify it? Imperceptibly and Slowly Opening highlights the inaccessible subjectivity that plants possess. Proposed artists install multi-disciplinary artworks showing plant life as it troubles both physical and ideological human spaces. This exhibition is part of an on-going investigation that began with Field Static (The Co-Prosperity Sphere, 2012), Ghost Nature (Gallery 400 / La Box ENSA, 2014), and congealed last fall in a group show about the material of the human body, The New [New] Corpse (Sector 2337, 2014). Following suite, Imperceptibly and Slowly Opening examines the verdant strangers among us. An affiliated catalogue with writing by Its affiliated and forthcoming catalogue (The Green Lantern Press, 2016) contextualizes participating artists with writing by Giovanni Aloi, Joela Jacobs, Renan Laru-an, Michael Marder, Catriona Sandilands, Steven Shaviro and others is forthcoming from The Green Lantern Press this fall. Images from the first iteration of the exhibition can be seen here.

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First Fridays at Vox Populi are generously supported by the John S. and James L. Knight Foundation

More details here.

Copy Drawings: Installation View

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

 

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

 

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Left to right: Magalie Guérin, Copy Drawing (hat-ham)—B&W, 2016, Graphite on paper, 27×23″; Magalie Guérin, Copy Drawing (hat-ham), 2016, Color pencil on paper, 27×23″. Photo by Clare Britt.

 

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

 

Magalie Guérin, NOTES ON, Studio Journal, First Edition of 540, The Green Lantern Press, 2016. Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, NOTES ON, Studio Journal, First Edition of 540, The Green Lantern Press, 2016. Installation View, Sector 2337, 2016. Photo by Clare Britt.

 

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Magalie Guérin, 100 Small Copy Drawings, 2016, various medium on paper, 8.5×11” ea. Photo by Clare Britt.

 

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, 100 Small Copy Drawings, (detail) 2016, various medium on paper, 8.5×11” ea

 

 

 

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Bleeding Black Noise : Installation View

 

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Bleeding Black Noise, Installation view, Sector 2337, Chicago, 2016. Photo by Clare Britt.

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Bleeding Black Noise, Installation view, Sector 2337, Chicago, 2016. Photo by Clare Britt.

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Bleeding Black Noise, Installation view, Sector 2337, Chicago, 2016. Photo by Clare Britt.

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Bleeding Black Noise, Installation view, Sector 2337, Chicago, 2016. Photo by Clare Britt.

 

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The Sea is Represented by an Irregular Shape : Installation view

All photos by Clare Britt

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Mark Booth, “The Sea is Represented by an Irregular Shape,” 2016. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “The Sea is Represented by an Irregular Shape,” 2016. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “MIGRATORY SHAPES,” 2016. Steel and wood, 12 units. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “MIGRATORY SHAPES,” (detail) 2016. Steel and wood, 12 units. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “The Sea is Represented by an Irregular Shape,” 2016. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “‘THIS representing ‘THAT’ ( 59 units) and IS (third person singular of ‘be’) (5 units),” (detail) 2016. Acrylic and ink on paper. Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “POLYP,” 2016. Acrylic and ink on paper. Photo by Clare Britt.

 

 

Interviews with Bleeding Black Noise

Prior to Amelia Ishmael’s upcoming curatorial project at Sector, she interviewed a number of the contributing artists. We compiled those interviews below. Bleeding Black Noise opens this coming Friday from 6-9pm.
Gast Bouschet & Nadine Hilbert http://wavelengths.ameliaishmael.com/2011/11/22/an-interview-with-gast-bouschet-vibrations-of-light-and-sound-to-trigger-seismic-molecular-events-to-shake-the-wall-to-break-down-barriers/
 
Faith Coloccia   http://wavelengths.ameliaishmael.com/2012/08/07/an-interview-with-faith-coloccia-sympathetic-magic-visual-scores-archives-and-memory/
Niels Geybels http://wavelengths.ameliaishmael.com/2013/01/03/an-interview-with-niels-geybels-sequences-monoliths-and-beneath-the-earth/

Michaël Sellam   http://wavelengths.ameliaishmael.com/2013/04/18/an-interview-with-michael-sellam-black-metal-forever-radical-transformations-and-reptilian-squamate/

Aldo Tambellini 
http://wavelengths.ameliaishmael.com/2014/03/31/an-interview-with-aldo-tambellini-going-back-again-forward-suspended-in-space-circular-forms-broadcasting-signals-into-spirals/
and
http://wavelengths.ameliaishmael.com/2012/09/13/an-interview-with-aldo-tambellini-black-zero-avant-garde-jazz-and-the-cosmic-void/
Jon Cates http://wavelengths.ameliaishmael.com/2013/08/29/an-interview-with-jon-cates-water-noises-datastreams-memory-glitches-dirty-new-media-lake-swimming/
Stephen O’Malley http://wavelengths.ameliaishmael.com/2011/12/05/an-interview-with-stephen-omalley-of-descent-burning-witch-hyperion-ensemble-sunn-o-imagery-concept-and-sound/