This Saturday, May 3, the gallery is presenting the second iteration of <<circa ten to the ninety>> (2025) by foad dizadji-bahmani, saun santipreecha, luc trahand. The work is embedded-into Maccabee Shelley’s ongoing solo exhibition with the gallery: <<the middle of the end>>. This collaborative, still-evolving work positions a game of chess as a unique encounter with relations between un/conscious structures snared between bodies, logics, boards, compositions, gambits—and play (or competition). With or against an Other (in the place of an other), each player performs a simultaneous coding and deciphering—and aleation—of their actions through an audial rendering of their moves. With the typical quiets of chess amplified to the point of roiling surface the surface of their hush, each move is voyeuristically heard (as it’s watched). “Conceived by Foad Dizadji-Bahmani, and developed together with Saun Santipreecha and Luc Trahand, <<circa ten to the ninety>> is an ongoing performance project rooted in a fascination with chess as a form of creativity. […] [T]he work involves a game of chess played on a specially designed board that generates a relationally-modular audial composition. Each piece — king, queen, bishop, knight, rook, pawn — for both sides — white and black — corresponds to a distinct layer drawn from a musical a musical suite congruous to its movement, and is mapped to specific squares on the board” […full statement provided below]. Anyone who would like to participate is invited to sign-up and play a match during the ‘open play’ scheduling (4-6pm; 8-10pm). *Please follow the link to a Google Sheet provided on the gallery’s website and social media (Instagram) in order for anyone to register for individual time slots. Alternatively, if you would like to play, you may also simply show-up at the gallery during the ‘open play’ periods and there will likely be an opportunity to play. Of course, signing-up is encouraged if you would like to guarantee your spot. Each match is set to a 20-minute interval; however, it is possible for a match to run longer than the afforded time slot. So please be aware that the timing of matches may slide forward, depending on the duration of each individual match. Please reach-out to the gallery with any questions about signing-up: gallery@reisigandtaylorcontemporary.com. …. circa ten to the ninety (2025) | iteration ii | Retro-performative audial composition (two performers, digital chessboard, Max/MSP, monitor, speakers). > Premiering: luc trahand’s composition. > Continuing: saun santipreecha’s composition. + 4–6pm, open play. - 6–8pm, curated performances. + 8–10pm, open play. _ _ Project Statement <<Conceived by Foad Dizadji-Bahmani, and developed together with Saun Santipreecha and Luc Trahand, circa ten to the ninety is an ongoing performance project rooted in a fascination with chess as a form of creativity. Drawing from the Surrealists’ exploration of chess both as metaphor for, and expression of, the tensions between order and disorder, chronos and kairos, the conscious and the unconscious, the work involves a game of chess played on a specially designed board that generates a relationally-modular audial composition. Each piece — king, queen, bishop, knight, rook, pawn — for both sides — white and black — corresponds to a distinct layer drawn from a musical suite congruous to its movement, and is mapped to specific squares on the board. With every move, the musical work emerges, shaped by strategy, imagination, and the players’ evolving choices, and thereby gives voice to Duchamp’s quip that, whilst not all artists are chess players, all chess players are artists. Adding to this fluid interplay of sound and structure, the layers assigned to each piece possess a temporal signature, defined by an inverse linear function of the time remaining on each player’s clock. This temporal element infuses the work with a sense of urgency and transformation, as the diminishing time alters the pace and texture of the unfolding composition. Although bound by the rules of chess and starting always in the same high-entropy state, each performance becomes a collaboration by opponents through whose unbounded agency one of circa ten to the ninety audial possibilities is actualized and phenomenological time is expressed. The result is a work where order and chaos, sound and silence, strategy and serendipity converge in an ongoing act of creation. For th[e] first iteration of the project, Saun Santipreecha composed the musical suite sampling from two sources, electroacoustically-modified: a saxophone and an electric guitar. Variously stretched or condensed in time, and taking as inspiration Blake’s Newton (1795) – the aquamarine fauna and luteofulvous mineralia away from which Newton has turned, and his search, under the pressure of the cold ebullition, through a system of mathematical rules – Santipreecha created a suite that ranges from deep textural resonances to clusters of gamelan-esque ticking. In turn, this also pays homage to the prepared piano compositions of John Cage, whose later work, Reunion (1968) serves as this project’s parental lineage. A multi-tonal haze intensifies and then slowly dissipates towards a certain audial resolution and final stasis. The complex and meticulous audial architecture of the project is designed and engineered by Luc Trahand. Working in MaxMSP and interfacing with a digital chess board, Trahand constructs a dynamic isomorphism between the state of play and the musical suite, adding spatial processes and temporal signatures. This project invites future iterations based on different musical suites composed by other artists.>> 
<<[Premiering during the installation of iteration ii (May 3, 2025: Reisig and Taylor Contemporary (Los Angeles),] Luc Trahand’s iteration of circa ten to the ninety engages with the chess players’ relationship with the game and its system. Pursuing the human and the artifice—that which is denominated as artificial—as automorphic structures, it conceptually examines the bidirectional correspondence that we partake in. As we become both cybernetics and ghosts, algorithmic individualism proliferates throughout our socius. This composition aims to highlight the relevance of the notion of Foucault’s biopolitics, further decorticated by Mbembe, Han, Haraway, Agamben, and other authors. A mutual imitation of voice and machinery, the sounds’ spectral fingerprints progressively morph into one-another as the players move through the game.>> {Statement courtesy of the artists.} _____ Image: Distorted performance view from the first iteration of <<circa ten to the ninety>> during the last evening of "Gene’s Presents 1TB Verbatim: Los Angeles Timing 2013-2025" at Leroy’s Happy Place (Chinatown, Los Angeles). March 2, 2025.