The Crack-Up

1206 Maple Ave #906 Los Angeles CA 90015
Aug 21, 6 PM - 9 PM — ends Oct 31, 2021
Take Care Gallery
1206 Maple Avenue #906
Bendix Building DTLA
8/21/2021 – 10/31/2021

Joshua Callaghan
Ginny Cook
Bradney Evans
Aitor Lajarin
Lakshmi Luthra
Juliana Paciulli
Michael Schmid

Curated by Kim Schoen

We are pleased to invite you to the opening reception of The Crack-Up,
Saturday August 21st 6pm – 9pm

“How could the silent trace of the incorporeal crack at the surface fail to “deepen” in the thickness of a noisy body? How could the surface gash fail to become a deep Spaltung, and the surface nonsense a nonsense of the depths?”*

The avalanche of products that bear no thought, except in a fit, a fever-dream, an anxious moment, a frivolous-joke moment, are sometimes thought about by artists. The exhibition The Crack-Up is about what kind of thought can be engendered by the absurd, death-inducing production spiral we are in the eye of.

“People in eastern Congo are massacred to facilitate smart phone upgrades of ever diminishing marginal utility (3). Forests are felled to make “personalized heart-shaped wooden cheese board sets”. Rivers are poisoned to manufacture talking fish. This is
pathological consumption: a world-consuming epidemic of collective madness, rendered so normal by advertising and the media that we scarcely notice what has happened to us.”**

How can one not crack up facing the glut of so much inherited and inhabited waste? And with so much love for our things as they waste us? This exhibition concerns itself with artists who engage with products and their surfaces, preferring to extend the small cracks, so that in their surface movement, the final breaks never occur. In “The Twenty-Second Series—Porcelain and Volcano” from Deleuze’s Logic of Sense, he says “But, to be the mime of what effectively occurs, to double the actualization with a counter-actualization, the identification with a distance, like the true actor and the dancer, is to give to the truth of the event the only chance of it not being confused with its inevitable actualization.” This movement is hopeful. The objects, these doubles, made by the artists stand in as hopeful, productive and recuperative actions that may prevent the inevitable crack in the surface from effecting a deeper gash, or may prevent surface nonsense from becoming “a nonsense of the depths.”

* Gilles Deleuze, The Logic of Sense
** George Monbiot, The Gift of Death