Jesse Fleming : Desert

“The desert is less “nature” than a concept, a place that swallows up boundaries. When the artist goes to the desert he enriches his absence and burns off the water on his brain… A consciousness of the desert operates between craving and satiety.” –Robert Smithson, excerpted from A Sedimentation of the Mind: Earth Projects (1968)

The Company is pleased to announce Jesse Fleming’s, Desert, presented at the gallery from March 12 – April 23, 2011. This is Fleming’s second solo exhibition at The Company, and will feature three new works consisting of videos, selected photographs, and a book. Fleming describes his process for Desert:

For one month in 2009 I lived twenty miles into Joshua Tree National Park. I stayed in a cabin down a dirt road, off the grid, with no means of communication. Water was tanked in and power was limited to solar and battery. I put together the shoot when I got there. The idea was immersion and reaction – a documentation of myself in the desert and the record of that time. I would wake up at sunrise and begin filming. The daily practice was based around a car, a camera pack, and a map. I would pick an area or direction and if it had an interesting feeling to it, hike from there. Time was spent drifting, shooting, studying, and building on each preceding day.

Desert (2011), was shot in California’s Joshua Tree National Park, 140 miles east of Los Angeles. The park is over 1200 square miles of high altitude desert with bizarre geological features. The edited footage captures the sublime cycles within the desert landscape – the shifting position of the sun, clouds, and the movement of the desert plants by the wind. The hypnotic pace of the desert is interrupted by aerial shots of crop circle-like patterns in the flat valley. The patterns evoke Michael Heizer’s motorcycle markings, Circular Planar Displacement Drawing, where tire marks etched the sand to be erased by first rain.

A selection of photographs from Desert will be exhibited along with photographs from the ethereal It series. It distills the content of Desert to shape, sound, light, color, and atmospheric perspective. The video It will also be shown along with sound component. Being influenced by the work of Michael Snow and Robert Irwin as well as science of brain entrainment and psychoacoustics, Fleming’s work incorporates visual and audio to construct an experiential journey.

JESSE FLEMING (b. in 1977, Northern CA.) He received his BFA from San Francisco Art Institute, New Genres Dept. He has had solo exhibitions at The Company, LA, Night Gallery, LA and The Fireplace Project, East Hamptons, NY. He collaborated with Daniel Arsham on a video for the Merce Cunningham Dance Co., and has directed videos for MoMA, NY, Guggenheim, NY, and PERFORMA, including Sigur Ros, DFA, and The Doug Aiken Happening. He has worked as first camera assistant and operator for Matthew Barney’s films, and was director of photography to Francessco Vezzoli. Fleming is currently director of photography on a Getty Museum documentary of Light and Space artists. Residencies include Riverside Art Museum and Joshua Tree National Park Residency Program, Cuts and Burns Artist Fellowship, The Outpost, Brooklyn, NY, and The Old School for Social Sculpture, Catskills, NY. Jesse lives and works in Los Angeles.

View Jesse Fleming Artist Page


How would you define night sweats? Sheer terror? Holy Fucking Hell? You may look to these definitions in what you are about to experience… ALPTRAUM!

German for “Nightmare”, ALPTRAUM! is an international traveling plague conceived during a late night conversation between L.A. artist Jay Stuckey and Berlin artist Marcus Sendlinger. With great support from curators Victoria Reis and Natalie Cheung (Washington, D.C.), Richard Priestley and Milika Muritu (London), Anat Ebgi (L.A.), and Jonathan Garnham (Cape Town), ALPTRAUM! quickly became a horrific reality.

Like a beast born from science fiction horror that feeds on raw energy, ALPTRAUM! collects new artists at every venue it contaminates. Starting in Washington D.C., at Transformer; the works travel across the globe to Cell Project Space, London; touring to Deutscher Künstlerbund Projektraum, Berlin; The Company, Los Angeles and ‘Blank Projects’, Cape Town. Working within the remit of the ‘artist-curated project’, all of the works in Alptraum have been restricted in size and material in order to facilitate the low-cost postal transportation of the show from country to country. With each exhibition site taking responsibility to pass the show on to the next host, the number of works and artists may change or grow, and the approach to interpreting and hanging the show vary from space to space as the body of works meanders on from country to country, like a trans-global nimbostratus formation; Alptraum is the exhibition equivalent of Stephen Kings “The Fog”. Adapting to every environment and growing everywhere it stops, ALPTRAUM! can not be controlled, one can only hope to contain it.

ALPTRAUM! seeks to use the relatively loose but still potent idea of a nightmare as the starting point for over 100 artists from the five locations and growing. Each artist draws on their own personal experience in order to visualize those anxieties, which take them beyond everyday dreams. Cultural differences and similarities become quickly apparent as each artist interprets the concept of Nightmare. It is a model, which utilizes global communication between localized artist hubs and clusters to form an international grouping with the intent of opening a dialogue about this subject across borders and cultures; to delve into the stuff and mind-murk that is collectively shared or completely random.

Participating Artists:

Christian Achenbach | Sanell Aggenbach | Victor Aguilar | Pablo Alonso | Kai Althoff | Salvatore Arancio | Petra Johanna Barfs | Alexandra Baumgartner | Matthias Beckmann | April Behnke | Joe Biel | Marc Bijl | Zander Blom | Armin Boehm | Erin Boland | Jan-Henri Booyens | Derek Boshier | Wim Botha | Lutz Braun | Reuben Breslar | Alan Brown | Amanda Leigh Burnham | Stuart Cairns | Ellen Cantor | Jessica Cebra | Ben Chase I Natalie W. Cheung | Bradley Chriss | Ben Cottrell | Keith Coventry | Jason David | Thomas Draschan | Sven Drühl | Peter Duka | Benjamin Edmiston | Elisophie Eulenburg | Jonathan Garnham | Alexa Gerrity | Stephen Gibson | Sayre Gomez | Georgina Gratrix | Adam Griffiths | Liza Grobler | Ian Grose | Florian Heinke | Trasi Henen | Lori Hersberger | Sean Higgins | Gregor Hildebrandt | Ryan Hill | Stefan Hirsig | Johannes Hueppi | Charles Irvin | Chris Jahncke | Birgit Jensen | Lisa Junghanss | Andy Kozlowski | Clemens Krauss | Moshekwa Langa | Anders Lansing | Xenia Lesniewski | Cedar Lewisohn | Joep van Liefland | Marissa Long | Mara Lonner | Jörg Mandernach | Sandra Mann | Josh Mannis | Maki Maruyama | Nomthunzi Mashalaba | John McAllister | Mery Lynn McCorkle | Bill McRight | Mohau Modisakeng | Aaron Morse | Audrey Moyer | Jan Muche | Mario Neugebauer | Timothy Nolan | Adam Pape | Christopher Pate | Manfred Peckl | Mick Peter | Carl Pomposelli | Richard Priestley | Ali Prosch | Clunie Reid | Joe Reihsen | Rob Reynolds | Lauren Rice | Nora Riggs | Tanja Rochelmeyer | Jenny Rosemeyer | Dennis Rudolph | Ruth Sacks | Jamison Sarteschi | Jaco van Schalkwyk | Maik Schierloh | Andreas Schlaegel | Bonnie Brenda Scott | Marcus Sendlinger | Andrew Sexton | Carole Silverstein | Jessica Simmons | Jen Smith | Kathryn Smith | Cammie Staros | Jennifer Stefanisko | Zach Storm | Jay Stuckey | Linda Stupart | Caro Suerkemper | Alex Tennigkeit | Lisa Marie Thalhammer | Peter Thol | Klaus-Martin Treder | Jason Triefenbach | Tamzyn Varney | Rachel Waldron | Martabel Wasserman | Martin Westwood | Allison Wiese | Maik Wolf | Renate Wolff | Michael Wutz | Jacob Yeager | Ed Young | Phillip Zaiser | Frank Michael Zeidler | Jody Zellon | Thomas Zipp

Kenji Fujita, Zak Kitnick, Sam Pulitzer : Live at The Acropolis

The Company is pleased to present Kenji Fujita, Zak Kitnick, Sam Pulitzer: Live at the Acropolis, an exhibition that brings together three artists working with a shared interest in architectural space, alteration and ornamentation, and a matter-of-fact treatment of materials. Using found and purchased materials, the selected works seek to engage the space through gestures that highlight the relationship of the work to the gallery and to the world.

Kenji Fujita will exhibit his Studies for Objects, three sculptures in a variety of ubiquitous materials such as paper bags, cardboard, plaster and plastic ties. Fujita’s work is the raw material of an ornamental undertaking left in its state of rawness. The materials lie on the floor in a seemingly unmonumental manner, as if indifferent to being elevated, as if they could be studies for objects without also being objects. Kitnick describes Fujita’s sculptures as having an “elegance that is better understood in terms of balance. The equilibrium in Fujita’s work is the result of trial and error, the result of spending time, the result of other results.“

Inverting the triangular boundary between art, décor, and utility, Zak Kitnick’s work explores how these parallel worlds borrow from each other equally, acquiring and defusing each other’s radical and banal models. Kitnick brings traditional cover-ups to center stage, riffing off the idea of what it means ‘to screen’ something—to image and project, but also to block out. As this simultaneous blocking and offering up to vision take place, the decorative and the autonomous aspects of art are also put into play; each is blocked and screened. Conceptual art’s interest in décor as at once the antithesis and inevitability of art is opened up here once again. Dichotomies erupt—haptic/optic, image/object, art/decoration—in an infinite regress. The work is color-coated and color-coded at once.

Sam Pulitzer’s work, too, takes ornament as its starting point, but it moves from the interior of the house to the exterior of the body. It imagines architecture as a body, a surface that can be boored out and plugged. Pulitzer’s ‘plugs’ intersect the midline between Fujita’s floor sculptures and Kitnick’s wall vents by literally piercing into the gallery walls with 1” gauged metal ear plugs. This act of formal transgression stems from Pultizer’s interest in reframing the way an object gets “mis/recognized” in the context of an art gallery. Piercing has tribal and/or spiritual origins in a community, but the index of its reference routinely gets appropriated by teenagers as an act of self-expression and individualism. Pulitzer considers the way codes such as these are nuanced and distributed within culture.

KENJI FUJITA Lives and works in Staatsburg, New York. Fujita received his B.A. from Bennington College, Vermont, and his MFA from Queens College, New York. He attended the Whitney Museum Independent Study Program. His work has been exhibited at Samson Projects, Boston, Jean Bernier, Athens, Daniel Wienberg Gallery, Los Angeles, Cable Gallery and Luhring Augustine, New York, Aldrich Museum of Contemporary Art, Brooklyn Museum of Art, and the Venice Biennale. He has received awards from the Guggenheim Foundation, National Endowment for the Arts, New York Foundation for the Arts and the Pollock-Krasner Foundation. He is currently a Visiting Associate Professor of Studio Art and an MFA faculty member at Bard College. He is also an instructor in the School of Visual Arts’ MFA program.

ZAK KITNICK b. 1984 in Los Angeles, CA. Lives and works in Brooklyn, New York. Kitnick received his B.A. from Bard College. Selected exhibitions include the Queens Museum, NY, PS1/MoMA Museum, Long Island City, Socrates Sculpture Park, Queens, Landings Project Space, Oslo, Artists Space, and Center for Curatorial Studies, Annandale-on-Hudson. Gallery exhibitions include an upcoming solo show at Clifton Benevento, New York, Rachel Uffner, New York, Bugada & Cargnel, Paris Shane Campbell, Chicago, and Johan Berggren Gallery, Sweden. His work has been written about in The New Yorker, Huffington Post, Art in America, Interview, and is included in the Younger Than Jesus: Artist Directory.

SAM PULITZER b. 1984 in Fremont, New Hampshire. Lives and works in New York City. He received his B.A. from RISD in 2006 and since then has exhibited at Real Fine Arts, NY, Okay Mountain, Houston, TX, Greene Naftali Gallery, NY, The Emily Harvey Foundation, NY, Cleopatra’s, NY, and Red Eye Gallery, Providence, RI.

Jay Stuckey : Glad Da

The Company is pleased to announce Glad Day, Jay Stuckey’s first solo show at the gallery, running from September 3 thru October 1. An opening reception will take place Saturday September 17 from 6-8pm. A selection of large-scale paintings will be presented at the gallery located at 955 Chung King Road in Chinatown.

Something occurred to me as I strolled through the Prado Museum’s impressive collection of Renaissance loot of Spanish monarchs – what is timeless and universal are the stories; the triumph of good over evil, the doomed yet thrilling path of lust and greed – immortalizing life’s stories and fated events. These artists fused biblical parables and Greco-Roman mythologies with the commissioning aristocrats of their time, making those stories continuously relevant.

Now it may seem anachronistic or bold to correlate a contemporary artist with the Old Masters, yet I am compelled to compare the use of painting as a storytelling device, and the power of the panel to suspend disbelief. Although the purpose and context of time differ dramatically – Stuckey’s paintings are intended to be humorous and approachable, not to instill the fear of god in the viewer. But they do involve worlds that are filled with binaries and tension of opposites, evoking dilemmas that continuously haunt us.

The subject matter in Stuckey’s paintings stem from personal visions and dreams. His day and night world literally collapse onto the canvas. Symbols and characters that reoccur in Stuckey’s dreams are duplicated on several canvases along side Trader Joe receipts, crossed out to-do lists, torn pages from calendars, and news clippings. The artist’s daily habits are laid out and presented as clear as his deepest darkest fears. We laugh at first, but then quickly recognize our own neurosis and connect with the vulnerability.

Stuckey begins with the traditional medium of oil paint on canvas and builds up each painting using paper, oil stick, gesso, and occasionally crayons. Upon first impression, the characters appear to be childish; gender is demarcated by simple circles for breasts, long or short hair, and (sometimes) scrawled penises. A blonde lady, a set of twins, a mailman, Adam & Eve, a masked thief with a knife, a brown hairy creature are all characters that appear over again. The visceral and iconic markings bring to mind painters such as DeBuffet, Basquiat, or Dunham. Stuckey pulls the viewer in with energy and sense of humor – and the titles make sure of this.

In the painting fuck you Fuck You FUCK YOU figures are shoved within the constraints of the canvas, all clawing at each other for a crimson object dangling above them from the hand of a lone, taunting figure. This single figure stands on top of a brown mound constructed from oil paint and newspaper clippings documenting recent flood images. The precarious mound has been built on destruction, much like greed and desire. Which begs the question, are we condemned to the same fate as the doomed figures in Bosch’s Garden of Earthly Delights?

Jay Stuckey graduated with a BFA from Brown University and an MFA from the School of the Art Institute of Chicago. Originally from Washington D.C., he’s been living and working in Los Angeles since 1996.

Sigrid Sandström Hide-outs

Where would I go, if I could go, who would I be, if I could be, what would I say, if I had a voice, who says this, saying it’s me? – Samuel Beckett

The Company is pleased to announce an exhibition of new works by Stockholm based painter Sigrid Sandström. Hide-outs is Sandström’s second solo exhibition with The Company, and will be on view from October 4 – November 5. An opening reception will take place at the gallery, located at 955 Chung King Road on Tuesday, October 4, from 6-8pm.

In her newest paintings, Sandström has abandoned the remnants of landscape and still life visible in her previous works, with an interest in the experience between the paintings and the viewer. Here, Sandström has less a specific outcome, but a desire to embrace and revel in the obscurities and the lost tracks between the process of making and viewing. Whereas her earlier works sought to articulate place, still tied to more formal conceptions of painting, Sandström has embraced the beauty of allowing nothingness, or elusiveness, to dominate. Yet the specifics and experiential encounters with places, particularly the remote and non-inhabited continues to exert an influence in her mindset.
Sandström’s paintings are associated with silence, in which a theoretical condition can only find imperfect form within the real world. Similarly the condition of nothing will inevitably be compromised. These works, like silence, are ignited only in the presence of life. Sandström’s work forces you to question the negation, her intent not being to necessarily compel an answer or a solution, but immerse yourself in the quiet, in the unforeseen, the unmanageable.

Sigrid Sandström is the 2008 recipient of the Joan Mitchell Foundation Painters and Sculptors Grant, as well as the 2008 John Simon Guggenheim Memorial Foundation Fellowship. She received her MFA from Yale University of Art, New Haven, CT. Prior to that she attended the Skowhegan School of Painting and Sculpture, Skowhegan, ME and The Cooper Union School of Art, New York, NY, and received her BFA from Adademie Minerva, Gronigen. Sandström’s paintings are in the permanent collections of the Moderna Museet Stockholm, Museum of Fine Arts Houston, Ulrich Museum of Art Wichita and Yale University Art Gallery. She has taught as an Assistant Professor in Studio Arts at Bard College, Annandale-on-Hudson. Sandström currently holds post as Professor of Fine Arts/Painting at the Royal Institute of Art, Stockholm.

Joe Reihsen

The Company has invited Los Angeles based artist Joe Reihsen to take over the gallery from November 5 – January 7, 2012. An opening reception will take place on Saturday November 5, from 7-10pm. Although we are pleased to announce this exhibition, we are not exactly sure what he’s going to do.

We’ve been over to Joe’s studio many times, wrestled with the language of painting, sculpture, theater, and theory. For a while, we were convinced that this show was about “domestic space”, self-portraiture, and even Absurdist Theater. We realize now that it was all a farce, a red herring. We were motivated and indulged by our need to know. We’ve concluded that this is a show about everything and nothing. Let’s just call it an obsession with zero.

There is no position. There is no narrative, game or strategy. There will be no (overt) quoting or referencing. This is pretty much as anti-historical, anti-authorial, anti-movement, and totally manufactured as it gets. No beginning or end. Authentically inauthentic, or more accurately: deeply shallow.

What we can say for sure is that you will see an installation of materials from Joe’s studio — including wood, steel, and aluminum propping up painted layers of canvas and paper. There will be objects that scratch you, reflect your image, and cause vertigo. There is a chance that you’ll be reminded of amoebas, psychedelic patterns, or your primitive past. It will also be flat and non-hierarchical; layers of consciousness, physical and the infinite, will become fictionalized, accessible, and permeable.

Joe Reihsen, b.1980, Blaine, Minnesota. Lives and works in Los Angeles. Joe received his BFA in Painting and New Genres at the San Francisco Art Institute. In 2008, Joe received an MFA from the University of California, Santa Barbara, where he was awarded the UC Regents Fellowship. Joe’s first solo show was PREVIEW in 2010 at The Company.


THE COMPANY is pleased to announce the screening of Jesse Fleming’s latest video work, The Snail and the Razor. The video will screen continuously during gallery hours from Wednesday, January 11th to January 18th, 2012. A special evening viewing and reception with the artist will take place January 14th from 7 – 9pm.

The Snail and the Razor depicts an interaction between a snail and an erect razor blade. Watching the video in real time is at once suspenseful, agonizing, humorous, heroic, suicidal, and inevitably transcendent. The action starts small, growing as we reflect on, and identify with, the journey of the slow moving creature.

The drumming lifts the content out of it’s potentially dire or morbid perspective and puts it into a state of levity (not unlike the experience at a circus or theater), that plays to our emotional connection with the content. The Snail and the Razor is a document of the vulnerable against the invulnerable – an epic undertaking that is universally relatable.

JESSE FLEMING (b.1977, Northern CA.) Fleming received his BFA from San Francisco Art Institute, New Genres Dept. He has had solo exhibitions at The Company, LA, Cafe Hammer, The Hammer Museum, LA, Night Gallery, LA and The Big Screen Project, NY. The Fireplace Project, East Hampton, NY. He has directed photography on videos for the Museum of Modern Art, NY, The Guggenheim Museum, NY, The Getty Museum, LA and PERFORMA LA, as well as Sigur Ros, Explosions in the Sky, DFA, and The Doug Aitken Happening. He has worked as a camera operator for two Matthew Barney films, director of photography to Francessco Vezzoli, Matthew Ritchie, Hedi Slimane, Mark Leckey, and a producer to Omer Fast. Residencies include Riverside Art Museum and Joshua Tree National Park Residency Program, Cuts and Burns Artist Fellowship, The Outpost, Brooklyn, NY, and The Old School for Social Sculpture, Catskills, NY. Jesse lives and works in Los Angeles.

Elias Hansen and The Reader We barely made it

WEST COAST. The WEST of which I speak is but another name for WILD; and what I have been preparing to say is, that in WILDERNESS is the PRESERVATION of the WORLD. –From OPERATION: MADMAN presents The READER.

The Company is pleased to announce We barely made it, a two person exhibition featuring Elias Hansen & The Reader. We barely made itbrings together these long time friends from the Pacific Northwest for the first time in Los Angeles from Jan 21-Feb 25, with an opening reception Saturday Jan 21, 6-8pm.

Hansen and Read’s art-making approach stem from a shared philosophy, with the final results being considerably different. The care and attention to the materials, from the discarded to the hand-made, is elevated, while nothing is taken for granted. Existing on the street or in a gallery, the process of remaining mysterious while developing a distinct and refined voice is vital. Wordplay through titles and phrases read as secret codes and messages passed between them, but inclusive enough for the audience to be involved, i.e., We barely made itcan be interpreted or misinterpreted in so many ways. The friendship between these two artists has cemented over years of ongoing dialogue and a shared vision of remaining authentic and present without revealing too much, even when the world demands it.

For this exhibition, The Reader, who is also known as Read More Books, Read Up, Mr. Bones, Rancor, and Open Your Eyes, has created a selection of graphic paintings. The black, white and red graphic design style and socio-political axioms are reminiscent of Barbara Kruger, with added grit. The skillful use of silkscreen, stencils, spray paint, collage, stickers, letterpress, stamps, and even shiny cigarette packages are materials sourced from and for the street, and transformed into works of art for the gallery.

The methodology of “being clean and gritty at the same time” is also at play in Elias Hansen work. For this show, Hansen will exhibit a network of hand-blown glass beakers, plastic tubing, CFC light bulbs, welded steel, and freshly chopped wood. These components are brought together to simulate interconnectivity, dependency, and completion within a closed system. They take the form of a self-contained water fountain, metal tables, and wall shelves. The glass is hand-blown by Elias and the wood is locally sourced from the artist’s yard in Upstate New York.


Originally from Indianola, WA, Elias Hansen currently lives and works in Upstate New York. Selected solo exhibitions include Frieze Frame with Jonathan Viner, London, UK; The Fireplace Project, East Hampton, NY, The Company, Los Angeles, Lawrimore Projects, Seattle, and Maccarone, NY. Hansen’s work has exhibited in the Seattle Art Museum, WA, Howard House Contemporary Art, WA, and Parc Saint Leger, Paris (with Oscar Tuazon). His exhibitions have been reviewed in Art Review, Mousse Magazine, Art Agenda, ArtForum, LA Times, The Stranger, among others. He has been awarded the PONCHO Special Recognition Award from the Seattle Art Museum. This is Elias’s third exhibition at The Company. Previous exhibitions: Predicting the present (2010) and Next time, they’ll know it’s us (2011).

The Reader is American. In 2011, his solo exhibition, Cut and Dry, was exhibited at Lawrimore Projects, Seattle. Recently, Juxtapose Magazine interviewed him for their December issue. His work will be exhibited at the Art Los Angeles Contemporary Jan 19-22, with Lawrimore Projects. This is his first show at The Company.

DAVID HENDREN In the shade

THE COMPANY is pleased to announce In The Shade, a solo exhibition by Los Angeles based artist David Hendren. In The Shade will be on view from March 3 – April 7, 2012. An opening reception will take place at the gallery, located at 955 Chung King Road on Saturday, March 3 from 6-8 pm.

The formal configuration of Hendren’s Shade paintings stems from an interest in early European abstraction, including Constructivism, the Blaue Reiter, and de Stijl, as well as the American minimalists Agnes Martin, Frank Stella and Donald Judd. Adopting the notions of painting-as-subject and a one-to-one relationship between the viewer and the material, Hendren uses this lineage to establish a familiar initial read for the work. The inclusion of figuration within these rich fields of abstraction provides an antidote to a completely reasoned composition and the potential for the uncanny within abstraction.

All of the paintings in the Shade series start off as intricate string grids stretched over un-primed burlap. These grids form a series of horizontal lines approximately the width of the spray diameter from a spray can. The painting surface is then bifrucated with a single piece of string. Using this grid as a guide, Hendren applies several coats of paint, alternating between light and dark colors. The colors blend to produce a muted tone, as if the color were in shade. The resulting linear bars act as a simple field, one that addresses the horizontal field of seeing, as well as establishes a familiar, minimalist backdrop. It is against this familiar field that the rest of the painting begins to resist, therein laying the foundation for the uncanny.

Hendren then makes a series of large figural cutouts on contact paper and adheres them to a tight vinyl screen. These cutouts are made through the act of tracing actual bodies, his own or friends, in a number of poses. These tracings are meshed together to form near symmetrical shapes. Much like a silk-screen in reverse, these cutouts are then taped to the painting surface, masking the amorphous shape from a layer of spray paint. The result is a negative ghost-like image floating on top of the grid underneath.

The final move is removing the string web, leaving a faint trace of the original structure on the surface.

David Hendren, b. 1978, Little Rock, Arkansas. Hendren’s work has been exhibited in Los Angeles at Kim Light/Light Box and EGHQ, and has been included in shows in Miami, Chicago and Detroit. He has shown internationally at Duve Berlin and in Lisbon as part of Portugal Arte 10. He has received numerous grants including the Pollock-Krasner Grant, the Toby Devan Lewis Fellowship, and the Ruth and Harold Chenven Grant. In 2009, he had a solo booth with Kim Light/Light Box at the NADA art fair in Miami. Having studied at the School of the Art Institute of Chicago (BFA) and Cranbrook Academy of Art (MFA), Hendren now lives and works in Los Angeles. This is his first solo show with The Company.



Setting: L.A. is the outside, and in this press release, BSSM the agent, the penetrator.

When I was asked to write this, I faced the inevitable and immediately realized that it was impossible to think about BSSM-L.A. as separate. Well, fortunately for me, we don’t have to fight anything here, as their collision into one impossible word seems inevitable; and as all fate-bound things in life, their merging avoids civil, agreeable, pronunciation. (Look on the bright side: We don’t have to deal with the infamous shattering that naming never fails to deliver.)

Image: A girl in red liquid next to a sugary floor, delimited by the essence of Spinoza which is, in turn, contained in clear glass while Sex hangs around as tension, as pressure.

Why do I write BSSM? Because as ‘Los Angeles’, or better, ‘ The Angels’; ‘Blood Sugar Sex Magik’ is a ‘title’ that by overexposure, paradoxically, has turn into a solid, too-visible thing. And moreover, perhaps by abbreviation, by establishing CAPTCHA–like structures, BSSM-L.A. might just shape up another set of greatest-hits, or will grant us the freedom to say ‘No, thanks’ to the gorgeous option of embracing exasperation.

It would be great if Sex wasn’t salty and Magik a quotidian aspect, or Blood run stripped from its trajectory. It would be great if L.A. became A.L. and in that inversion the winged could be reclaimed… And everyone had to put up with our idiosyncrasies. Right? But, let’s not get carried away here, as this analysis might appear to reduce the artists’ works to mere formalist manifestations or to the symptomatic.

Instead, let’s shoot for logic and ask ourselves: Can Spinoza fill a glass container? Is the deterministic girl in the bathtub imparting a type of unity with the liquidity of her context, until she can engage the neighboring, summoned, (and complying) Baruch in the discussion? Or will photography and sugar cast an inevitable layer of suspicion on the ever-shaky and yet tectonic platform that our gaze offers? Is the melancholia inherent in those burnt telephone numbers, or in Magik, Sex, Blood, Sugar, something more than an obsessive script? Might be that those numbers and those words re-present the condition of the present? As dialing/burning/Magik promise immediate results; and Sugar, Sex, or Blood imply the right-now, the in-the-moment transit? What about the consequences of punctuation, action, or the unfolding of texts? Can this CAPTCHA account for the spectrum that BSSM-L.A. generates? Or rather, can I be clear?

-Diego Singh, Miami, March, 2012.

Jen DeNike (born 1971 in Norwalk, Conneticut, lives and works in New York). She received her MFA from Bard College in 2002. Her work has has been exhibited internationally including exhibitions at Art Basel: Art Public with Mendes Wood, MoMA and MoMA PS1, KW Institute for Contemporary Art Berlin, The Brooklyn Museum, Tensta Konsthall Stockholm, Julia Stoschek Collection, CAMH Contemporary Arts Museum Houston, and Deichtorhallen Hamburg. A selection of photographic works will be presented by DUVE Berlin at Zona Maco in Mexico City this April, and at the Photography Festival in NYC curated by Amy Smith-Stewart. A selection of her videos are currently on view in the new Media Lounge at MOMA. Her work is in the permanent collection of the Museum of Modern Art, Julia Stoschek Collection, and IL Giardino dei Lauri Collection. Her second solo exhibition is slated for October at The Company.

Amie Dicke (born 1978 in Rotterdam, Netherlands, lives and works in Amsterdam) Dicke’s work has been exhibited throughout the world, including the Tate Modern, London, FLAG Art Foundation, New York, Kaikai Kiki Gallery, Taipei, Taiwan, Zabludowicz Collection, London, Museum of Old and New Art, Tasmania, Museum van Loon, Amsterdam, John Connelly Presents, New York, Peres Projects, Berlin, Galerie Diana Stigter, Amsterdan and Hiromi Yoshi Gallery, Tokyo. Her work is in the permanent collections of Museum Het Domein, Sittard; The Museum of Modern Art, Arnhem; City Collection of Rotterdam through the Museum Boijmans van Beuningen. She has been widely reviewed and featured in publications including ArtForum, Numero, V Magazine, i-D, Art Monthly, Elle, Dazed & Confused, The Independent, Metro Life, and The Sunday Telegraph. Artimo recently published a monograph of her work entitled “Void”. Amie has previously shown in Los Angeles in 2003 and 2008 with Peres Projects.

Robert Mapplethorpe (born 1946 in Floral Park, NY, died 1989 in Boston, MA) Mapplethorpe attended the Pratt Institute, Brooklyn, in 1963, where he studied painting and sculpture and received his B.F.A. in 1970. It was not Mapplethorpe’s original intention to be a photographer, and from 1970 to 1974, he mainly made assemblage constructions that incorporate images of men from pornographic magazines with found objects and painting. In order to create his own images for these collages, Mapplethorpe turned to photography, initially using a Polaroid SX-70 camera. Mapplethorpe had his first substantial shows in 1977, both in New York: an exhibition of photographs of flowers at the Holly Solomon Gallery and one of male nudes and sadomasochistic imagery at the Kitchen. In 1988, four major exhibitions of his work were organized: by the Stedelijk Museum, Amsterdam; the Whitney Museum of American Art, New York; the Institute of Contemporary Art, University of Pennsylvania, Philadelphia; and the National Portrait Gallery, London. Mapplethorpe died due to complications from AIDS in 1989.

Dane Mitchell (born 1976 in Auckland, New Zealand, lives and works in Auckland and Berlin). Mitchell has shown extensively internationally. Selected solo exhibitions include Radiant Matter I, Artspace, Auckland, New Zealand; Minor Optics, daadgalerie, Berlin, Germany; Conjuring Form, Art Statements Art39Basel, Basel, Switzerland; Invocations, Gertrude Contemporary, Melbourne, Australia; A Guest, A Host, Galerie West, Den Haag, The Netherlands; A Abrigo, A Gentil Carioca, Rio de Janeiro, Brazil. Collaborative projects include Whitney Bedford and Dane Mitchell, Susanne Vielmetter Los Angeles Projects, Los Angeles, USA (2011) and The Story of a Window (with Matt Keegan), Neon Parc, Melbourne, Australia (2010). He was a 2009/2010 resident on the Berliner Künstlerprogramm DAAD, Berlin, Germany; 2010 resident at the Govett-Brewster Art Gallery, NZ and visiting artist at the Dunedin Public Art Gallery, Dunedin, NZ in 2011; Artist in residence at Gasworks, London, 2008. Forthcoming exhibitions include Liverpool Biennale 2012, UK; Gwangju Biennale, Korea; Contact, Frankfurter Kunstverein, Germany.

Carlos Sandoval de Leon (born 1975 in Sabinas Hidalgo, Nuevo Leon, Mexico. Lives and Works in New York City and Miami, Florida) Sandoval de Leon received a BFA from The Art Institute of Chicago in 1999 and an MFA in sculpture in 2008 from Columbia University. His works have been exhibited at El Museo del Bario, New York, the de Cordova Sculpture Park and Museum, Lincoln, MA, Mendes Wood, Brazil, De la Cruz Collection, Miami, Sikkema Jenkins & Co, New York, Artist Space, New York and the Fisher Landau Center for Art, Long Island City. In 2010, he received the Rema Hort Mann Foundation Grant.

This exhibition is supported, in part, by public funds from the Netherlands Cultural Services