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EXHIBITIONS

  • CURRENT

Yvonne Rainer, Danh Võ, Jordan Wolfson and Helen Marten.
‘The working classes can suck my 10 incher’

Public Fiction (the museum of)
749 Avenue 50
Los Angeles 90042
20 July – 7 Sept

This exhibition CAPTURES in full detail the scandalous sexual history of the operaista movement, particularly after Australian entertainer Rolf Harris and the cyclist Eddie Merckx became a fellow travellers in the mid-1970s. Cycle pedo-porn and operaismo melded.... collaged with contemporary oppression of Pakistani textile workers and other exploitations across the world.

Beginning with Merckx's victory speech at his last race at Kluisbergen on 17 July 1977, after he had just been converted to operaismo after a MASSIVE ORGY at Paolo Virno's.
                    
‘The proletariat give me a fucking HARD-ON.’ The words clung to his throat like semen. Luigi turned his face to the crowd, looking at the lined faces, bald heads and work jackets. The cheap acrylic of his trousers stretched across his straining hardness – a precise crease which he had ironed in that morning:

‘And striking … makes me HORNY’’


  • PREVIOUS
#scriptureNOW

15 June through 1 August 2013
Sculpture Centre, New York

Hey dudes thank you for following us! It don't matter if you are some kind of fucking crackhead, this free event is for you!
 
You and your friends are invited to join us for some totally intersubjective encounters as enforced pseudo-casual coercion and group-judgement sessions where we can totally like watch the torture of sinners LOL! If God will allow innocent babies to be murdered, stabbed through the eye socket and left in dirty baths in fucked up tenements and abandoned houses, with goat effigy wire-hanger-brands seared on their little chests, then why wouldn't he allow REAL scum to be tortured for eternity and totally fucked up LOLOL #Guantanamagogo.

Oscar Murillo
Defense of the Leaping of Hogs


June 2 through 27 Nov 2013
Hungarian Pavilion
at the 55th Venice Biennale
Giardini della Biennale
Venice 

Signing, sealing, swallowing, flogging, revealing, casting, unsealing, regurgitating, healing, releasing. Reflection, nested in opposites, is betrayal--this has to be the axiom that marks our starting point, even if we have always already started, always already find ourselves halfway down the road to perdition. Perdition is grace. We have cast our inconsolable eyes on the heavens. We’ve called this Genesis as a way to absolve ourselves. To look up then, this is what eyes are for--eyes in the universal absence of consolation. And this is why the wise, as the Assyrians remind us in their sand-blasted books, sometimes gouged them out with sharpened flint and fed them to the hogs. To see in blindness the blindness of seeing. The binary falters and fails. It fails us. It fails at the moment that the demons are cast out [...]

Baby nation

Frieze Stand F11
Regent’s Park, London
16 – 20 October 2013

Muh mah moh moh. Momma bubba bubba buh buh buh. Muh moh muh muh muh muh. uh puhpuh buh muh muh. Big yawns! Big yawns! Oh your ear’s all squashed. Your ear’s squashed. Have you got a squashed ear, poh duhduh muh bu bu bub buh mumma momma bu buh. muh moh moh Buh buh murr mur buhbuh. yeah.What is that? Huh? Is that Big Bird? Is that a big bird? Big bird? Tu? Tu? No widdler. Mummah puh muh muh duh duh, muh bu bu bub buh buh buh buh buh muh muh muh momoh muh bu bu bub buh mommu squashed ear muh muh. Mommu bu buh daaa momma momma dadda where dadda muh duhha duh bu? Mommabub bu buh buh buh bu duh momma momma dadda ma ma dadd-a muhmma bu bub buh. Momma gotta… play with… in the sand. 

STEINBACH/ABRAMOVICH
Better a dead collector than a paralysed one

January 12th through March 1 2013
Performance on Saturday 12th January at ICA, London, from 7 - 10pm

Head Gallery, in association with The Artist's Institute, presents a unique collaboration between Marina Abramović and Haim Steinbach. Last summer, in the idyllic setting of the Upper Hudson Valley, Steinbach put together a small barn-studio in which he incubated a series of Abramović clones. He then severed their heads to facilitate the production of a new range of ‘commodity’ shelves.

Installed vertically for the first time, blood and urine drip down from one shelf to another like a fountain-cascade, culminating in a grotesque carpet of flesh that runs over to the window and hangs down the side of the tower block, for over fifty floors. Then the liquefied bodies of 25 paedophiles are poured down the interior
[...]
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Happy Holidays [various]

December 2 through January 6 2012
Happy holidays from all the staff at Sprüth Magers
Happy holidays from White Columns
Happy holidays from Miguel Abreu

Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy XHappy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy XHappy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy XHappy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X Happy X
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andrea fraser/Liam Gillick
FREEDOM


CCS Bard Presents: From 199A to 199B : Liam Gillick
Opening June 23 1-5pm
Hessel Museum of Art, NY
June 23 through December 21, 2012


head gallery is thrilled to present Liam Gillick's retro-speculative installation titled: An abrupt Treatise on the discursive harmonization of trade union voting strategies. As described “ …the siting of these artworks within the context of a ‘real’ Ford factory plant, brilliantly performs and exposes the bloodless vacuity of contemporary discourse regarding Post-Fordist structures and immaterial labour. The physical experience of the artwork is itself presented artfully as a variety of flexible specialization. For instance his Guantanamo Bay Room Dividers (2013), gaily coloured and smeared with filth and blood, screen off one half of the factory space, potentially a format for dividing the workplace under condition of continuous non-hierarchical renegotiation and transformation. But this performance of ‘screening’ is itself a screen, hiding other forms of screening, in particular, obscuring the view onto a world of oppressive divisions by alluding daringly to unions and other forms of progressive politics.”
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SALON: LIMITED EDITION COLLECTABLES

12 Jan to 30 March 2012

Head Gallery is delighted to present a high quality portfolio of contemporary limited edition artworks, crafted from the highest grade materials, and finessed as a timeless collection of quality and precision - entwining and disentwining as the voluptuous cross-articulation of desire, transference and transduction of congealed labour time these smooth surfaces, of the lustrous exterior of murderous annihilation, sliding in the slippage of banal ecstasy, as the ultimate experience of bold design and stunning style, in close proximity to international-calibre artists, and world-esteemed printers and fabricators, transformed and transforming as the aesthetics of re-callibrated death-capital of unnamed multitudes, revolutionised as seductive critical art curios and glossy, juicy remote investment palliatives, bleeding like snakes or vines curling as a mirroring outwards of the infinite complexities of both the inward and outward facing surfaces of sensual and conceptual consumption, slipping as veins and decomposition, replayed as the banal mysticism of [...]   

 "We were invited to see some of the editions and discovered some quite beautiful, high-quality prints. By the end of our meeting, we couldn't believe we had wasted so much money there, but we couldn't help ourselves. We cherish every piece we acquired that day."

Mera and Don Rubell, Art Forum
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My Spinal Cord Traversed by the Axis of the Planet

Ray Brassier, Eileen Joy, Dean Kenning, Rachel Kushner,
Patricia MacCormack, Nicola Masciandaro, China Miéville,
Reza Negarestani, Benjamin Noys, Nina Power, Hillary Raphael
and Evan Calder Williams.

18 April to 11 June 2011

Head Gallery invites you to My Spinal Cord Traversed by the Axis of the Planet, an exhibition that "exists" as a stream of indeterminate white-code, punctuated by a series of contingent meaning-units (postulated artworks), moving through the directionless plenum and time-bends against which orbital space shores up. It accelerates in an abyssal "vertical" plunge, masked as an effort to trace the abstract lineaments of a post-solar gravitational vacuum. It's total illusory narrativizing or phantasmic integument-production as refusal to accept the coming meltdown, absolute material dissolution.  The end of the mesh, networkscapes, Spirit, objects, Real. An ultimate context of no-context. The white-code speeds through deep space in a mock mission of alien contact as parody of the futile galactic transversality wish-work of uploaded and deep-stored consciousness. Like the white-code, emancipated from the gravitational slavery of the terrestrial, uploaded and catapulted consciousness as survival mechanism is left to spin in the vortex of its own unimaginative existence as solution to anything. A mixture of self-generated binary couplets, DNA string sequencing, ancient Latin, Koranic braille, cthulhic runes, pre-dessiac hieroglyph, and Zoroastrian symbols, the white-code and the meaning-units it pulls along are mathematics breaking down in the dissipative zoom of matter, "measured" by a better instrument than the metric regimes of biomass prejudice. The Axis of the Planet Traversed by the Inviolable Linearity of the Dissipative Drive of Matter and Energy.
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Orbitecture - OPEN UP THIS IS A PUSSY PUSSY - smash the representations of class domination before you bother with re-orienting the heavy metal of material culture

28 Jan to 26 March 2011

A coral reef of the suffering is laid out before our eyes in infinitely faceted detail. Tiered horizontally and splayed adjacent huge pillars which support the vast domed ceiling of what used to be the LA Lakers Nokia Megadrome. Rows of busted-up bodies arranged as a precise, living catalogue of oppression and misery: torture victims with the weals of electrical burns across their faces and backs; factory workers with skin rotting from phosphorus burns; starving children with chiselled ribs protruding and tears cutting a path down dusty
skull-cheekbones; machete'd [...]     

[...]orphans, blind from being kept locked in containers and dungeons since birth; low paid workers with respiratory disease, including emphysema, bronchitis and lung cancer. Coloured lighting high up in the stands tints the figures red and orange. Artificial perfume smell of shit and sweat are circulated in the air-con. And there are mixed up emotions, at one point one of starving children is masturbating. The guards quickly remove him.
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Liam Gillick
An abrupt Treatise on the discursive harmonization
of trade union voting strategies
& Conservation Platforms XIII- XVI

Nov 30 - Dec 29 2010

head gallery is thrilled to present Liam Gillick's retro-speculative installation titled: An abrupt Treatise on the discursive harmonization of trade union voting strategies. As described “ …the siting of these artworks within the context of a ‘real’ Ford factory plant, brilliantly performs and exposes the bloodless vacuity of contemporary discourse regarding Post-Fordist structures and immaterial labour. The physical experience of the artwork is itself presented artfully as a variety of flexible specialization. For instance his Guantanamo Bay Room Dividers (2013), gaily coloured and smeared with filth and blood, screen off one half of the factory space, potentially a format for dividing the workplace under condition of continuous non-hierarchical renegotiation and transformation. But this performance of ‘screening’ is itself a screen, hiding other forms of screening, in particular, obscuring the view onto a world of oppressive divisions by alluding daringly to unions and other forms of progressive politics.”
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Paul Chan
THE HAITIAN PIG - BECKETT, BRETCH, BELLADONNA

April 17 - may 23 2010

head gallery is thrilled to present a suite of twelve short films by Paul Chan, titled collectively "THE HAITIAN PIG (BECKETT, BRETCH, BELLADONNA)" documenting the artist's attempt to reintroduce the indigenous Haitian Creole pig to the island following the animal's eradication by the Americans.

Jan Verwoert: "Chan's magic combination--a cold interest mixed with a warm heart, an objective eye tempered by a loving voice, a sharp intellect couched in boundless patience. There is no trace of insolence or indulgence in what he does. Its all necessary and just."
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Hassan Nassim
A RT MARKET IS OK

Nov 11 - Dec 29 2009

"... commissioned to coincide with the opening of the Art Fair ... in transforming the infamous beating of Rodney King by LAPD into a porn movie Tundi  McKenzie's antagonistic mash-up performance jolts the viewer out of  their comfortable and passive spectatorship forcing them to think  through the complexities of capitalism ... A flock of seagulls  materializes in the colorful haze above...'
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DEAD

Group show curated by Colin de Land.
Jason Rhodes, Dash Snow, Ana Medieta, David Wojnarowicz, Diego Velasquez, Claire Fontaine, Peter Fend, Rachel Feinstein.


July 29 - August 29 2009

"... once everything had calmed down, these kind of tiny, delicate,lilac-coloured flowers started to sprout – a kind of pale violet flower,very small about the size of a bean-sprout. At first it looked like dust,covering everything: the artworks, bodies on the floor, the shit, theliving people. Everything looked pink. We zoomed in with spectro-view andwe could see it wasn’t dust but tiny little flowers blooming out of eachpore, growing out of the skin, or out of the shit. It grew fast and thenwe could see that a tongue was growing out of each flower like a stamen."
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mo-leeza roberts
unseen moth


April 28 - June 16 2009

We are delighted to present the first solo exhibition in New York by Mo-Leeza Roberts, following recent shows at Jack Hanley Gallery, SF and Galerie Neu, Berlin. “The exhibition is comprised of a single white humming bird, intricately carved from ivory and set at head height on a tapered white plinth. The intention is that viewers align themselves with the animal so that the bird’s beak curves to a point a few millimetres from the bridge of the nose. The beak’s point ‘sensed’ by the skin without touching. Thereby, coordinate with the angle of beak relative to the face, the work is mirrored by an ‘unseen’ humming bird whose ‘beak’ is the viewer’s optic nerve, and ‘body’, the viewer’s brain. Viewer and artwork—fixed and doubled. In this demonic symetry - hovering like ultra-rapid@ hyena-necro-cunts, lost in the non-reified, scum-fucking ecstasy that seeves and jumps across the putrid, rabid non-surface of our spectacular pseudo-wilderness - opening itself up as a screen for our insidious bourgeois fantasies replayed as proletarian dreams, trashed and power-spasmed by the tragic love-death non-life that non-fucks in the push and pull of the inescapable.”
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Rainbow Nbeme
White Proletariat

Feb 9 - Mar 26 2009

"The white swamp-whale - a SHIT-DEBASED vision of becoming-unwhale is dropped 80 metres from a helicopter, into the roofless white cube gallery space. Splitting like a watermelon on the crete floor - a shitting out of becoming-gallery-becoming-meat, the clueless, cunt-suave cynicism of the work rides dandyishly on a skillful and languid aesthetics of non-production - za careless disavowal of the formal values (and connected ideologies) it so skillfully achieves through negation-as-non-negation-as-negation."
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Carlstone Dempsey
Rite of Spring: Save the Dancer

Nov 28 - Jan 10 [closed dec 23- jan 2] 2008

The world becomes nothing but dark stretches against which a million dots of candlelight quiver, pathetically mirroring a firmament whose elegance lies precisely in its brutal coldness, its disregard of the vermin that scurry down there.
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