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Allen & Eldridge
Open Wednesday - Sunday,
10-6pm

James Fuentes, Owner

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Information

Exhibition



Swimming in Rivers of Glue (an exercise in counterintuitive empathy)

May 1–June 19, 2016



PRESS RELEASE (PDF)↓


Swimming in Rivers of Glue (an exercise in counterintuitive empathy)
Swimming in Rivers of Glue (an exercise in counterintuitive empathy)
Swimming in Rivers of Glue (an exercise in counterintuitive empathy)
Swimming in Rivers of Glue (an exercise in counterintuitive empathy)
Swimming in Rivers of Glue (an exercise in counterintuitive empathy)
Swimming in Rivers of Glue (an exercise in counterintuitive empathy)
Stealing one’s own corpse (an alternative set of footholds for an ascent into the dark) Part 2 – Swimming in rivers of glue – The perspective of perspective. 2016, digital video projection, 9 minutes 57 seconds, dimensions variable

Stealing one’s own corpse (an alternative set of footholds for an ascent into the dark) Part 2 – Swimming in rivers of glue – The perspective of perspective. 2016, digital video projection, 9 minutes 57 seconds, dimensions variable

22V – PLACEMENT (JAPAN) There is no substitute for a man on the ground. 2016, plaster, dimensions variable

22V – PLACEMENT (JAPAN) There is no substitute for a man on the ground. 2016, plaster, dimensions variable

1V - PRODUCED (A point of reference slowly draws in semantic meaning to provide the world with a fixed border, fixed dimensions, fixed weight.) 2016, black paint and white adhesive vinyl on wall, dimensions variable

1V - PRODUCED (A point of reference slowly draws in semantic meaning to provide the world with a fixed border, fixed dimensions, fixed weight.) 2016, black paint and white adhesive vinyl on wall, dimensions variable

22V – PLACEMENT (GUANGZHOU) There is no substitute for a man on the ground. 2016, plaster, dimensions variable

22V – PLACEMENT (GUANGZHOU) There is no substitute for a man on the ground. 2016, plaster, dimensions variable

32H – EXISTENCE Passing through, being marked and to some extent damaged by the geography of the present.  2016, plaster, foam, wood and latex, 21 x 73 x 30 inches

32H – EXISTENCE Passing through, being marked and to some extent damaged by the geography of the present. 2016, plaster, foam, wood and latex, 21 x 73 x 30 inches

22V – PLACEMENT (JAPAN VARIATION) There is no substitute for a man on the ground. 2016, plaster, resin and coins, dimensions variable

22V – PLACEMENT (JAPAN VARIATION) There is no substitute for a man on the ground. 2016, plaster, resin and coins, dimensions variable

5H – MEMORY A nostalgic trace of all that was and now is only partially. 2016, plastic bags, plaster, resin and coins, dimensions variable

5H – MEMORY A nostalgic trace of all that was and now is only partially. 2016, plastic bags, plaster, resin and coins, dimensions variable

37V – RELATIONSHIPS Expect to be changed a lot: a real interaction is more akin to demonic possession than to data collection.  2016, cord, 125 x 90 inches

37V – RELATIONSHIPS Expect to be changed a lot: a real interaction is more akin to demonic possession than to data collection. 2016, cord, 125 x 90 inches

19H – DAMAGING Attention! Danger! It’s a trick, an ambush! Fight! Bite! Parry! Thrust! Help!, 2016
cast glass, wood, latex, wax, 26 x 38 x 31 inches

19H – DAMAGING Attention! Danger! It’s a trick, an ambush! Fight! Bite! Parry! Thrust! Help!, 2016 cast glass, wood, latex, wax, 26 x 38 x 31 inches

22V – PLACEMENT (LONDON) There is no substitute for a man on the ground.  2016, plaster, dimensions variable

22V – PLACEMENT (LONDON) There is no substitute for a man on the ground. 2016, plaster, dimensions variable

6V – RECOGNITION In the movement from a kind of knowledge to its refusal we see the real contours of things.  2016, glass, plaster, and found book wrapped in latex, 11 x 26 x 10 inches

6V – RECOGNITION In the movement from a kind of knowledge to its refusal we see the real contours of things. 2016, glass, plaster, and found book wrapped in latex, 11 x 26 x 10 inches

6V – RECOGNITION In the movement from a kind of knowledge to its refusal we see the real contours of things., 2016, glass, plaster, and found book wrapped in latex, 10 x 43.5 x 10 inches

6V – RECOGNITION In the movement from a kind of knowledge to its refusal we see the real contours of things., 2016, glass, plaster, and found book wrapped in latex, 10 x 43.5 x 10 inches

22V – PLACEMENT (LONDON VARIATION) There is no substitute for a man on the ground.  2016 plaster, dimensions variable

22V – PLACEMENT (LONDON VARIATION) There is no substitute for a man on the ground. 2016 plaster, dimensions variable

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it.  2016, black cold glaze on air cured clay, 23.5 x 19 x 2 inches

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it. 2016, black cold glaze on air cured clay, 23.5 x 19 x 2 inches

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it.  2016, black cold glaze on air cured clay, 23.5 x 19 x 2 inches

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it. 2016, black cold glaze on air cured clay, 23.5 x 19 x 2 inches

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it., 2016, black cold glaze on air cured clay, 19 x 23.5 x 2 inches

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it., 2016, black cold glaze on air cured clay, 19 x 23.5 x 2 inches

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it., 2016, black cold glaze on air cured clay, 19 x 23.5 x 2 inches

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it., 2016, black cold glaze on air cured clay, 19 x 23.5 x 2 inches

Artist



Julieta Aranda

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