August 1 - December 31, 2010

August 1, 2010 - February 1, 2011



The San Francisco Antique & Design Mall

701 Bayshore Blvd.

San Francisco, CA 94124

United States


10:00am - 5:30pm, open everyday




CONTACT:

Email:

sc13@showcase13.com


Website:

www.showcase13.com




Download PDF press release




Curated by Chris Fitzpatrick & Post Brothers

Funded by an Alternative Exposure grant awarded by

Southern Exposure, San Francisco, CA




SC13

From August 1, 2010 through February 1, 2011, a shifting inventory of objects will be on display within SC13—one of the many glass showcases that line the walls of the San Francisco Antique & Design Mall (SFADM). With more than 200 antique dealers operating independently within the 37,000-square-foot warehouse, the SFADM offers tens of thousands of artifacts for sale—administering the exchange of cultural, symbolic, and economic values seven-days-a-week. Yet dealers Chris Fitzpatrick and Post Brothers offer nothing for sale. Instead, by parasitically inhabiting the SFADM’s pre-existing display apparatus, SC13 mirrors and refracts the operating logics of the antique mall to investigate the paradoxical properties of matter and the contextual boundaries of an exhibition.


Titled after its location, SC13 emphasizes the reciprocal discourse between the objects on display and their means of containment—how context, juxtaposition and arrangement modify the expression and circulation of things. This conversation will take place over the course of five months, as a succession of objects and subtle interventions by international cultural producers appear, disappear and, in some cases, reappear. An object by Žiga Testen & Nicolas Matranga settles a dispute from beyond the grave, while Elisheva Biernoff offers a nearly indiscernible double—a replacement nearly lost in this maze of material culture. Both Emanuele Becheri and Mauro Vignando employ antiques as material, but the former scorches the artifacts with new signification, while the latter reduces the material to its hidden essence. Similarly, Nina Beier sources objects from the antique mall, but she defaces them, creating a new plane for the projection of more spectral physiognomies.


The exhibition’s primary audience comprises the many antique collectors who already frequent the SFADM. Presented without explanation, the same contextual silence found in the other showcases at the SFADM allows viewers to extrude and inscribe meaning through the imaginary and real narratives implied by the objects themselves. A significant dialectical discordance exists between the historical and material particularity of an object and how it reappears and circulates, which SC13 exploits to productive ends. The objects on display will be seen amid an identity crisis; jettisoned from their intended art context and implicated through proximity as antiques, their appearance will be skewed as the objects take on new faculties.


Just as antiques are detached from a specific time and place, the objects inserted into SC13 have equally been displaced through the material and ideological transformations that brought them into being. Moreover, the critical capacity of many of these objects is contingent on their means of distribution, which is both extended and arrested through this project. What happens to a bird’s nest, for example, already reclaimed and put into circulation as a traveling sculpture by Juozas Laivys, when incarcerated in an antique mall? What type of harmonies resonate when Gintaras Didžiapetris extracts a letter from a violin and what sound does the hole make when separated from the whole? And how do Nicolas Boulard’s holes bore portals between Californian and French vintages? How did Taha Belal deliver a New York Times newspaper entirely in Arabic only to change into Chinese? How did Benoît Maire fit the history of geometry into a pair of high heels and why does Bill Albertini’s combination of biomorphic and architectural forms feel so uncomfortable?


Although SC13 is a single exhibition, its ongoing fluctuation will allow complex discursive constellations to form within the showcase, which will be quietly echoed and elaborated by external events within the larger space of the SFADM—from the invigilations of a dog translated by poet David Buuck to Malak Helmy’s object-oriented accounting of certain “tool beings” that surveys the ontological, temporal and spatial ecology of the SFADM. Lauren Marsden introduces a temporally wayward woman who discloses anecdotes about various artifacts and remnants. As the relationships fostered within SC13 diffuse out into the heterogeneous field of the SFADM, their affect activates an altered perception of the innumerable other displays and objects. The questions raised within the showcase will also permeate into the cracks in the concrete through a subtle continuous interjection by Zarouhie Abdalian.


SC13 is both microcosm and macrocosm, representing not only the tension between interiority and exteriority, but also different modes of interiority (the within within within). Just as the glass layers a surface upon the display, framed by the entire SFADM, the objects within SC13 engage in an additional exchange of surfaces—a movement of skins, coatings, situations and strata. One may see objects by Carlos Bevilacqua and Brandon Walls Olsen as introducing concentric models of worlds within worlds, apprehended movement, or selfishly tautological containments. Like a mask, George Maciunas’ photostatic print suggests both a façade and an inward cavity. Meanwhile, Cameron Kelly dresses a rock in affluent attire and Giovanni Oberti coats diminutive objects with a secondary shell. Similarly, an object by Michelle Lopez looks like something, but that thing is unclear, yet clearly references a skin trade through its surface and materiality. At the moment when this project may become familiar or predictable, a disruption by Abdalian renews the project’s obscurity.


Finally, SC13 will be prolonged through its catalog, which is being designed by Alfa60. The publication will reach different audiences—documenting, but also extending the project further into new terrain and times. Joshua Martinez and Jason Kalogiros will filter the documentation of SC13 through a number of representational procedures, both faithful and abstract, that compromise any stable memory of the project.


- Chris Fitzpatrick & Post Brothers






COVERAGE:


ParaSites: SC13

by Scott Hewicker


SC13: With Love, From Mabel

by Noah Krell


Showcased

by Kara Q. Smith


SC13: Group Show

by Elyse Mallouk


SC13

by Heidi J. De Vries

CONTRIBUTORS:


Zarouhie Abdalian

Bill Albertini

Alfa60
Emanuele Becheri

Nina Beier
Taha Belal
Carlos Bevilacqua

Elisheva Biernoff

Nicolas Boulard

David Buuck

Gintaras Didžiapetris

Malak Helmy

Jason Kalogiros

Cameron Kelly

Juozas Laivys

Michelle Lopez

George Maciunas

Benoît Maire

Lauren Marsden

Joshua Martinez

Giovanni Oberti

Brandon Walls Olsen

Žiga Testen & Nicolas Matranga

Mauro Vignando




ROTATION SCHEDULE:


SC13

Exterior.
Interior.



August 1

Objects by Taha Belal, Gintaras Didžiapetris,

and Giovanni Oberti are on display within SC13.



August 17

Zarouhie Abdalian begins an ongoing interjection into the foundation of the SFADM.



August 22

At 3:30pm sharp, Lauren Marsden presents Raising of the Glass by Mabel Ray around a dining table at the SFADM.



August 29

Inventory rotation:

An object by Taha Belal is replaced by another object by Taha Belal, delivered in Chinese.



September 5

Inventory rotation:

Objects by Emanuele Becheri, Nicolas Boulard, Gintaras Didžiapetris, Juozas Laivys, and George Maciunas are on display within SC13.


*Lauren Marsden channeled the ghost of Mabel Ray, who led a tour of the SFADM at 2:30pm sharp from a dining table.



September 19

Inventory rotation:

Objects by Bill Albertini, Emanuele Becheri, Nicolas Boulard, Gintaras Didžiapetris, and Juozas Laivys are on display within SC13.


*Tour by Mabel Ray, 2:30pm sharp from a dining table.



October 10

Inventory rotation:

Objects by Bill Albertini, Nicolas Boulard, George Maciunas, and Benoit Maire are on display within SC13.


*Tour by Mabel Ray, 2:30pm sharp from a dining table.



October 18

Zarouhie Abdalian continues an ongoing interjection into the foundation of the SFADM.



October 31

Inventory rotation:

Objects by Benoit Maire and Mauro Vignando are on display within SC13.



November 14

Inventory rotation:

Objects by Carlos Bevilacqua and Brandon Walls Olsen are on display within SC13.



November 21

Inventory rotation:

Objects by Carlos Bevilacqua, Cameron Kelly, and Brandon Walls Olsen are on display within SC13.



December 5

Inventory rotation:

Objects by Zarouhie Abdalian, Carlos Bevilacqua, Cameron Kelly, and Brandon Walls Olsen are on display within SC13.


*Final tour by Mabel Ray, 2:30pm sharp from a dining table.



December 12

Inventory rotation:

Objects by Zarouhie Abdalian, Nina Beier, Cameron Kelly, Juozas Laivys, and Brandon Walls Olsen are on display within SC13.



December 16

Zarouhie Abdalian continues an ongoing interjection into the foundation of the SFADM. Elisheva Biernoff drops off a replica.



December 19

Inventory rotation:

Objects by Nina Beier, Cameron Kelly, Juozas Laivys, and Brandon Walls Olsen are on display within SC13.



December 24

Inventory rotation:

Objects by Nina Beier and Michelle Lopez are on display within SC13.



January 9

Inventory rotation:

Objects by Nina Beier, Michelle Lopez, Giovanni Oberti, and Žiga Testen & Nicolas Matranga are on display within SC13.



January 16

GOING OUT OF BUSINESS, LIQUIDATION SALE.

Inventory rotation:

Objects by Bill Albertini, Nina Beier, Taha Belal, Nicolas Boulard, Gintaras Didžiapetris, Cameron Kelly, Juozas Laivys, Michelle Lopez, George Maciunas, Benoit Maire, Giovanni Oberti, Brandon Walls Olsen, Žiga Testen & Nicolas Matranga, and Mauro Vignando are on display within SC13.



January 23

Zarouhie Abdalian completes an ongoing interjection into the foundation of the SFADM.
GOING OUT OF BUSINESS, LIQUIDATION SALE.

Closing reception and project wake from 3:00-5:00pm.

Inventory rotation:

Objects by Bill Albertini, Nina Beier, Taha Belal, Nicolas Boulard, Gintaras Didžiapetris, Cameron Kelly, Juozas Laivys, Michelle Lopez, George Maciunas, Giovanni Oberti, Brandon Walls Olsen, Žiga Testen & Nicolas Matranga, and Mauro Vignando are on display within SC13.



February 1

Conclusion.





*With Love from Mabel (ongoing tours of the SFADM)


Mabel Ray is a lost character who travels through the exhibits of the SFADM, re-collecting the space from a double identity.  Her memories swing from episodes of a domestic life to the scenes of a dramatic film in which she is the protagonist. As she wanders through the building, she engages several of the mall’s wares, using them as props and monological cues from one set to the next.  Her encounters evoke other characters present in building such as Marilyn Monroe, a pet dog, David Bowie, and a herd of centaurs.

 

Image by Jason Kalogiros

SC13

A five six-month shifting inventory within a glass showcase at the San Francisco Antique & Design Mall