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Jen DeNike: The Scrying Trilogy

The Company is pleased to present The Scrying Trilogy, Jen DeNike’s first solo exhibition in Los Angeles. The Scrying Trilogy incorporates three new works: Another CircleCrystal Forest and Hydromancy, each expanding on the ballet SCRYING , which debuted at the Museum of Modern Art in New York earlier this year.

The Scrying Trilogy is significant to Los Angeles as it completes a cycle that began with the ballet workshop of Scrying in Santa Monica last summer. DeNike, in collaboration with choreographer Melissa Barak realized the three-act ballet in the Balanchine tradition using six Los Angeles Ballet dancers.

Another Circle, a single channel video projection depicts a ballerina in classical tutu and toe shoes rotating in what appears to be an infinite pirouette, evoking the bodily repetition of scrying. During the opening reception at The Company, the original ballerina from the video will perform mirroring and reacting to the hypnotic action in the video.

The physicality of Another Circle is transferred through Crystal Forest, sculptures consisting of crystals mined by the artist near Hot Springs, Arkansas in the summer of 2010. As a form of an archeological dig, DeNike selected specific crystals ranging in size, and then infused each with magick to be used as a conduit for scrying. The crystals are placed on a custom-made steel pedestal as still-lifes.

Water is another element that is used for scrying and is explored by the artist in Hydromancy , which is part performance, and part sculptural installation. Rows of black bowls filled with water are placed in circles, while a performer slowly moves between them conjuring divination through the water. When the performer is not there, a circular mirror is placed in center of the bowls on floor.

JEN DENIKE lives and works in New York City. Her work has been exhibited internationally including: MOMA, Kunst Werke, P.S.1., Deichtorhallen Hamburg, Brooklyn Museum, CCS Hessel Museum, EMPAC, Tensta Konsthall Sweden, Duve Berlin, Smith-Stewart, MOCA Miami, Printed Matter NY, and the Performa Biennial. Her work is in the permanent collection of the Museum of Modern Art and the Julia Stoschek Collection. Jen received her MFA from Bard College in 2002.

Scrying is a practice of magic or divination that involves seeing visions through physical mediums like water, a mirror, crystals, or reflective surfaces.

Hydromancy is the method of divination by means of water.

Museum of Modern Art, January 12, 2010:

View footage of the ballerina performance from the 9.17 opening:

Alexa Gerrity: The Venus Effect

The Company is pleased to present The Venus Effect, Alexa Gerrity’s first solo exhibition in Los Angeles featuring a multi-medium installation of video, paintings, and text. The exhibition will open Oct. 29th and run thru Dec. 11th, 2010.

The Venus effect is a phenomenon in the psychology of perception named after various paintings of Venus gazing into a mirror (Titian’s Venus with a Mirror, Vasari’s Toilet of Venus, Mary Cassatt’s Mother and Child.) The Viewer assumes that Venus is admiring her own reflection, but since the viewer sees her face in the mirror, Venus is actually looking at the reflection of the viewer. This phenomenon is explored by Alexa in relationship to the psychological landscape of Los Angeles through painting, video and installation.

The first mirrors used by people were most likely pools of dark, still water. The myth of Narcissus is directly concerned with an element of human experience, as the word Narcissus indicates—narcosis, numbness or alienation. The single channel video, Marked by Mercury, explores this relationship with the gaze. Narcissus mistook his own reflection in the water for another person. This seductive doubling numbed his perceptions until he became the servomechanism of his own extended or repeated image. The orginal soundtrack for Marked by Mercury was a collaboration between Alexa and Icelandic musician Kristín Þóra Haraldsdóttir.

A selection of new paintings, inspired from the pages of OK magazine and US Weekly, reflect common superficial projections and assumptions made about Southern California. From celebrity beach towels to invented Malibu sunsets, multiple ‘styles’ reference a psychological approach while undermining the viewer’s expectations for the artist’s work to be immutable.

For the first time ever an artist will transform The Company’s bathroom into a sanctuary space with a series of personal affirmations in the piece titled True Potential. By repeating the statements into the mirror, the viewer is invited to unlock her true potential through repetition. The use of instructional text to stimulate behavior and promote an awareness of the body and mind harkens to Bruce Nauman’s Body Pressure, 1974.

The single-channel video, Forever Young, is the result of a professional casting call, in which Gerrity searched for Los Angeles actresses that shared the artist’s physical attributes. The audition of these doppelgangers becomes strained, loses touch with reality, and the gaze of the camera/artist and the gaze of the actress become intertwined, feverish and hallucinatory.

ALEXA GERRITY grew up in upstate NY and in Viña del Mar, Chile. A presidential scholar at Stanford University, she received a BA in Art History, and in 2009 received an MFA from CalArts. She has studied art at the International School of Painting, Drawing and Sculpture in Italy and at MICA in Baltimore. This is her first solo show at The Company.

View Alexa Gerrity Artist Page

Elias Hansen : Next time, they’ll know it’s us

Next time, they’ll know it’s us … Is it braggadocio or a whispered secret? Should we be scared about the knowledge we are about to procure or excited that we are being let in on a secret? Or does this have nothing to do with us? Are the ‘they’ and the ‘us’ just obscure third parties? Am I a ‘they’ or an ‘us’?

The Company is pleased to present Next time, they’ll know it’s us, Eli Hansen’s second solo exhibition at the gallery. Next time,… expands upon his previous show, Predicting the Present, where his blown glasses were polished to be conduits for seeing and foretelling. The exhibition runs from January 21 – February 26, 2011.

Hansen’s sculptures are assembled from a combination of materials sourced from the Pacific Northwest. A Northwest native, Hansen has been living on neighboring Vashon, a relatively isolated island accessible only by ferry, for the past 8 months.

The hand polished crystal glass, wood, bird beak, chemistry beakers, and found objects come together to blur the distinction between man-made, nature-made, and artist made. Hansen juxtaposes mass produced glass with unique hand blown glass to level the hierarchy between exceptional and ordinary. In the same way, he improves upon a beach-found walking stick by affixing a hand made cut crystal to its tip, and fastening found glass jars on to its arc.

The sculptures are a fusion between still life Vanitas/memento mori, simulated chemistry sets, and drug paraphernalia. A couple of colored glass objects lean toward each other longingly on a wood shelf, never to meet. A makeshift table of beakers and pumps are left abandoned, perhaps never used. Hansen’s work seeks to be a quiet reminder of impermanence and failure, falling short as “almost” but never achieved.

Elias Hansen (b. 1979). He is the recipient of the 2010 PONCHO Special Recognition Award from the Seattle Art Museum. Recent solo exhibitions include Maccarone, New York, The Company, Los Angeles and The Lawrimore Project, Seattle. With brother Oscar Tuazon, he has realized collaborative exhibitions at The Seattle Art Museum, Howard House Contemporary Art (Seattle), Western Bridge (Seattle), The Lower Manhattan Cultural Council, (NYC), Parc St. Leger Center of Contemporary Art (Pougues-les-Eaux, France), and The Palais de Tokyo, Paris.


Los Angeles Times, reviewed by Leah Ollman
ArtSlant, reviewed by Sarah Lehrer-Graiwer
Art Agenda, reviewed by Joanna Fiduccia

View Elias Hansen Artist Page

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.