Reynold Reynolds THE LOSTOctober through December 2016
May Gallery presents The Lost, a multi-channel film installation by Amsterdam-based artist Reynold Reynolds. In this immersive film presentation, viewers are invited to take in the story set in 1930s Berlin, fragmented across multiple screens, and piece together a narrative exploring the blurred lines of reality and fantasy within performance and the effects of authority on alternative lifestyles.
Projected onto 3 large screens within the gallery, The Lost tells the story of a young British writer Christopher who relocates to a Berlin cabaret in the 1930s Nazi Germany. There he discovers that the proprietor, an eccentric old man who takes in young female artists and musicians, performs mysterious experiments on the woman in his makeshift basement laboratory. As the townspeople and local authorities learn of the experiments, Christopher observes the consequences of transgressive activity within a totalitarian society.
The Lost is based on a film production started in the 1930s that was abandoned during the rise of the Nazi regime. Reynolds rediscovered the film material (storyboards, scripts and some completed footage) in 2011 and over the past few years has completed the project. The title of the installation refers specifically to those who suffered within Nazi Germany, and more broadly to those individuals whose stories are deemed inconsequential by mainstream society.
The film is screened with a live musical score based on fragments of pieces from the early 1920s and 1930s by composers such as Franz Schreker, George Antheil and Erwin Schulhoff, arranged by Gerard Bouwhuis and performed by New Orleans musicians.
Reynolds’s work is influenced by philosophy and science. Working primarily with 16mm as an art medium, he has developed a film grammar based on transformation, consumption and decay. Reynolds’s use of symbology and the integration of allusive references create a powerful pictorial language in his work, founded in his analytical point of view. His depiction of people often makes us aware of the limited frames we use to understand reality. By subtly altering the regular conditions of life and watching their effects, he transfers the experimental methods of science to filmmaking, where he frames reality in his artwork and changes one variable at a time to reveal an underlying causality.
The May residency hosts three to four artists or curators each year for between three weeks and three months. Reynolds will spend almost 3 months in New Orleans exhibiting his work, participating in panels and discussions and working towards the completion of an existing piece, 2 Part 7.
Dave Greber TRAIL MAGIQUE
March 2016 to May 2016
“Trail Magic” is a phenomenon which expresses itself on long-distance pilgrimages during moments of synchronicity or good fortune. In the gross realm: Trail Angels, altruistic trail guardians, offer Trail Magic to pilgrims in the form of consumables (food, medicine, alcohol) or services (rides, beds, showers) throughout their journey.
On the Appalachian Trail, the act of bypassing sections of trail is known as yellow blazing.
Greber’s immersive exhibition at May gallery reflects an interest in—or desire to bypass—lengthy spiritual or literal pilgrimages as a catalyst for inner growth or easy satisfaction. Dave’s exhibition at May will conflate the common human desires—which are at odds with one another—of inner growth and immediate gratification. His recent completion, and occasional yellow blazing of the Appalachian Trail has lead him to study and employ traditional labyrinth forms in juxtaposition with pop-culture’s dimensionless, ephemeral, but immediate trappings of satisfaction.
*give or take
“My work identifies spiritual meaning within our contemporary society by applying mystic readings to popular capitalist communications and their folk reverberations. – Dave Greber
Dave Greber was born in Philadelphia in 1982. He studied at the Middle Bucks Institute for Technology, Temple University, Universiteit van Amsterdam, and Tulane University. After a stint as a filmmaker/freelance commercial video producer, he found his calling in the contemporary art resurgence of post-Katrina New Orleans, creating video loops and site-specific multimedia installations. His installations have been featured in museums: Prospect 1.5, The Ogden Museum of Southern Art, the Contemporary Arts Center, New Orleans; commercial galleries, Arthur Roger Gallery in New Orleans, C24 Gallery in NYC; and International Media Festivals. His work has been covered by Art in America, Rhizome, Artforum, Artvoices, Hyperallergic, DailyServing, Pelican Bomb, Oxford American, and others.
Tameka Norris MEKA JEAN: HOW SHE GOT GOOD
October 25th 2014 – January 25th 2015
As part of Prospect.3: Notes for Now, May gallery & residency debuts a feature-length ﬁlm and a video installation by New Orleans-based artist Tameka Norris. Meka Jean: How She Got Good follows a semi-autobiographical protagonist as she struggles to deﬁne herself in relation to her surroundings. How She Got Good is a collage of fragments—in the forms of music videos, soap operas, and high-art ﬁlms—that highlights moments when Meka Jean’s identity breaks down and reveals itself in new ways, confusing distinctions between the real & the scripted and between the self & others.
Norris deconstructs Meka Jean even further through a multi-channel installation composed of production footage, underscoring the inherent performativity of art and identity and tracing the evolution of the character herself.
How She Got Good is equally a ﬁlm about New Orleans, a city undergoing rapid socio-economic shifts alongside Meka Jean’s constantly changing conceptions of herself. The Meka Jean Project extended into real communities in the Ninth Ward through its primarily local cast and crew.
Lotte Geeven VIGOR
“This exhibition portrays two dualistic complex powers that are omnipresent in this city. Man and object oppose the flow of water. The installation houses two distinct works that speak together about the geographical and social context of New Orleans. The works are as succinct as they can be, but have emerged from things I discovered and experienced during my residency. Much like a kōan, the installation is not set within a logical framework; it is designed to introduce an alternative, deeper understanding of the place we are in. The installation is there to provoke space for new thoughts creating a doorway to the complexity of this city that surround us. ” —Lotte Geeven
VIGOR is a solo exhibition comprised of a video projection, a moving image and an immersive installation with a proprietary publication. Lotte’s exhibition at May is the culmination of her artist residency in New Orleans, which began in February, 2014. Through the bi-weekly journal A Walk With…, produced by May, her cultural, sonic and geographic explorations have been documented and made available to the public as a printed newspaper, and downloadable document. Her exhibition at May serves as a stage for understanding the city and the ways in which upriver regions have metaphorically and literally fed the terra firma that New Orleans sits upon.
Lotte Geeven (b. 1980) is a multi-media artist from Amsterdam creating tailor-made portraits of sovereign places. These simple portraits with a graphical character aim to envelope the magic of autonomy and explore complex matter & power beyond our control related to a specific place. For example, The Sound of the Earth – a sound recording from the deepest open hole in the planet- is a portrait of the abstract deep earth. Or the work Sovereign – an upside down Jaguar spinning on it’s back in slow motion in an empty parking lot – is an exploration of the ambiguous character of this sovereign location.
Keene Kopper, Art Director
Lotte Geeven, Artist
assisted by Mary Crockett
Alex Payne, Director of photography, editor and camera operator
Milo Daemgen, Producer and sound design
Bruno Doria, Camera operator
Zac Manuel, Camera operator
Bob Weisz, Animation
Matt Gudry, DIT
The Greenhouse Collective Parasol Productions
Sean Carlo, Actor
Christophe Jackson, Voice
Émilie Lamy, Publication director
Alaric Garnier, Graphic designer
Keene Kopper, A Walk With #1
Philippe André Landry, A Walk With #2
Bruce Fleury, A Walk With #3
Steven Bingler, A Walk With #4
Brita Everett, A Walk With #4
Alex Kolker, A Walk With #5
Mark Grote, round table panelist
Linda Yablonsky, round table moderator
WWNO, Thomas Welsh
Gumbolive, Nate Sutter
Thank you to: Arcade Fire, Glady’s Bar, Dave Greber, Heather Hansen, Rachel June, Jeanne Leroy, Curt McClain, Frank McLallen, Avram Penner, Tom Spittler, Brent Joseph, Melissa Tamporello, Matthew Thompson, Matthew Holdren, Prescott Trudeau, Johnny King, Emmanuel
Produced with support of: The Mondriaan Foundation, The Netherlands America Foundation, the Rosa Mary Foundation, RISO, the Joan Mitchell Foundation, Michael Wilkinson and May Season Members The May gallery & residency Board Of Directors: Keene Kopper, Art director Emily Morrison, President Sam Oliver, Secretary Margaret Hull, Treasurer Émilie Lamy, Publication director Alaric Garnier, Graphic designer James Folsom, Member at large Mary Dixie, Member at large Roel Miranda, Member at large Tameka Norris, Member at large
“I felt like I could wait for illumination about what to do in life, but instead, I deliberately make forms. These forms reflect the world that I inhabit, but they do not reflect my own character. The only explanation for this is that who or what I am has remained a secret kept even from myself. Certain ideas intrigue me. One is the idea of a secret sacrifice so cruel that it is unbearable. Thinking about it, I realize no one can see oneself as cruel–not even a sadist who can say that flagellation is mean. By this I mean: authenticity is an impossible secret to keep. I can see sacrifice emanating from life forms. My art exists to give pleasure and does not attempt to judge. These ideas are the trace of a smudge on the glass I am looking through.” —Susan Bowers
Susan Bowers described her art as, ‘a monkey on her back.’
Her background is in art history, painting and printmaking. While getting an art history degree at Tulane University, New Orleans, Louisiana in the 1990’s she started taking ceramic classes. She taught Art History at Tulane and Xavier University before becoming interested in computer art. She worked in computer graphics and animation for sometime before losing interest. She resumed working in ceramics 7 years ago and has renewed her passion for the primordial medium.
Momo BUTT JOINTS
December 2013-January 2014
“May is a raw bunker-like space by the St Claude Rail Yard, perfect for oversized installations. Butt Joints describes the method of marrying plywood together that will help us build something large yet simple within May’s space. Paint applied to these wooden forms will demonstrate my mural techniques and concerns, with the aim of revealing something about paint in space and our sensual experience of it.
I’m very happy to create a show in New Orleans. I’ve been visiting when I wasn’t living here, since 2001, and I owe a lot to this place and it’s great people.” – MOMO
Butt Joints is a solo exhibition comprised of all new context specific artwork. MOMO’s current creative trajectory has led him further into color theory, abstract geometric constructions, and layering. MOMO’s work is typically considered outdoor art, or work made for the public, lending to its broad accessibility and popularity. Additionally, his work is so visually and conceptually accessible, making it easy and enjoyable to view and relate to. His exhibition at May will consist of a floor to ceiling wall mural, colorful large scale hanging sculptures, paintings on canvas, prints, and signed limited edition zines.
Born in San Francisco, MOMO has travelled most of his life, lived in New York for six years and currently keeps a studio in New Orleans. He has collaborated with Marie Lorenz, Melissa Brown, Piet Dieleman, Eltono, and Yohji Yamamoto. In 2008 Rojo published his first monograph “3AM-6AM”, in 2012 Studio Cromie published his second, “In 74 Pieces”. In 2009 Y-3/Adidas produced the “MOMO” shoe after a collaborative F/W Y-3 show on a 5000 sq ft catwalk mural. Arts residency The Studios of Key West hosted his “Public Art in Private Spaces” project in Key West, Florida in 2010. In 2011 the Fountainhead Residency in Miami hosted production of his “Miami Paintings” series. http://momoshowpalace.com/
Thomas Grill WORLD CONSTRUCTION VARIATION: EMPTY VESSEL
“Vernazza, Italy, is a small village in the Cinque Terre region, situated on the rugged Ligurian coast. The town’s church, Santa Margherita d’Antiochia, built in 1318 directly on the harbor, opens its entrance to the main square, Piazza Marconi with cafes and access to the town beach. When I visited the church in the summer of 2005, its door was wide open, inviting all the everyday noises from outside: the chatter of people sitting in the cafes, the yelling of market vendors, children’s noises of playing at the beach, etc. And all those noises would be captured, reflected and transformed by the church hall’s architecture to become a wonderfully sweet and unholy turmoil of sound occupying the large space, only most vaguely reminding of the noises’ external origins.” – Thomas Grill
World Construction, Variation: Empty Vessel is part of an ongoing series of site-specific compositions and sound installations. It will consider May’s raw, industrial interior as a vessel to resonate noises leaking in from the outside. The title is a reference to Alvin Lucier’s work Empty Vessels, which amplified the resonances that were created within empty bottles due to outside sounds. Grill’s project appropriates sounds from May’s environs and then reconstructs them in May’s concrete space through the use of 100 loudspeakers and 40,000 watts of amplification.
Nicolas Sassoon GREEN WAVES
For his solo exhibition at May gallery & residency, Nicolas Sassoon will present a series of large scale video projections and sculptures derived from a recent body of digital animations titled Green Waves.
Green Waves originally stems from a series of screen based animations depicting abstracted moving bodies of water through the use of moiré and hard edge pixel patterns. The animations are part of a large ongoing project titled Patterns, where Sassoon studies the representation of the natural by encoding it into abstracted digital forms.
For the exhibition at May gallery, Green Waves unveils a central moment within Sassoon’s current research; when his animated work extends to the material realm as contemplative sculptures and immersive video projections, taking form as imaginary portals inside the space. In Green Waves, each work evokes large surfaces of liquid by using multiple streaks of hard edge pixels moving slowly together, emulating an experience of landscape detached from nature through an illusory and mesmerizing display.
Alli Miller & Trey Burns WESSEL CASTLE
“In the situation of supermodernity, part of this exterior is made of non-places, and parts of the non-places are made of images.”
— Marc Auge, Non Places: An Anthropology to Supermodernity
The May Gallery is proud to present “Wessel Castle”, an exhibition from the archives of Alli Miller and Trey Burns. A portmanteau of Tom Wesselmann and White Castle, “Wessel Castle” is an ongoing collaborative archive from our travels and commutes into the megatexture of the American landscape. With a nod to the legacy of pop art and culture jamming, we examine sign culture within the grammar of public space through the framing of that which is liminal, hyperbolic, and humorous. Through the act of collection, we create typologies in order to explore their possibilities.
These images explore the ferment of message within the sign-scape. In turn, sculptural works draw parallel between the advertisement space and that of the gallery as a place for appraisal. As site, sign and pedestal share a tendency to mimic the “lived spaces” of the real in order to create new, often perverse, meaning. These hybridized forms invert the conceit of muséal display with the improvised style present in local and handmade signage.
AN ELEPHANTINE TEPEE SERVES ESPRESSO ROADSIDE, TRADING ITS SKIN FOR A STUCCO SHELL
A WAFFLE HOUSE, SHUTTERED BECAUSE OF A SHIFTING DEMOGRAPHIC, NOW BOASTS TOP DOLLAR FOR YOUR GOLDJEWELRY
A PAINTING SLUNG ON AN ABANDONNED SHIPPING CONTAINER REFLECTS THE METAPHYSICS OF ITS SURROUNDS
Clark Allen & Bob Snead FAMILY DOLLAR GENERAL TREE
December 2012-January 2013
This location is being monitored and recorded for your safety and convenience. Thank you for shopping at Family Dollar General Tree.
This is where we work. We would rather you stay away but Corporate needs you here. You are a number. Corporate requires numbers and we require Corporate. You require our stock and our stock is required on shelves. We receive performance reviews based on how well we move the shelves’ stock straight from Corporate. Maybe we’ll get a raise. Who knows? Corporate needs to calculate the numbers first. They will give you what they say you want, and we want it too, but first we’d better stock the shelves.
Don’t steal. Don’t loiter. Just buy something and leave. We couldn’t imagine why you’d want to loiter here anyhow. Didn’t you hear the announcement when you walked in the door? They are watching us and we are not a corner store, though Corporate insists that we project our pride in being as convenient as one. We display this pride via our khakis and our collared shirts, the shirts are embroidered with a stylish and discreet company logo. Our first of these shirts is generously donated by Corporate, and so we launder these shirts with care using Tide with Bleach Alternative, the finest detergent according to our circular. In the event of eventual desaturating, wrinkling, or frumpiness of the garment, Corporate will generously deduct ten nontaxable dollars from our paycheck for a crisp replacement- a convenient arrangement, as one would expect from such convenient stores.
We find ourselves in a closed circuit, the infinite loop of Uroboros reflecting the illusion of inexhaustible resources, which we assume everyday by walking through the magnetic theft prevention system. Regional nuances are observed; for what would New Orleans be without the fleur de lis? However this is secondary to Corporate’s goal. Thusly, our primary spectacle is the brands we are built upon, and the waste built upon that.
Thank you for shopping at Family Dollar General Tree. Have a nice day.
—Clark Allen and Bob Snead
Derek Larson ₮A₦₮RI₡ ₩€A₤₮h
What can you do when opportunities become out of reach, and when your choices dwindle to fewer and fewer? Current psychological research actually suggests that having fewer choices will make you happier and, conversely, having too many options is stressful. So how important is it to empower yourself? What about economic free-will and the idea that hard work will lead to success? What can one individual do? What are your options? Can you even empower yourself? Stare into the Yantra prints… Meditate on the layered currencies of the world. Feel the wealth of the world inhabit your body. Find faith in spiritual healing again, like when you used to read the Tao. That was a short and rocky time in your life but try remember the comfortable loneliness. Find your previous self, the one that didn’t have any money and didn’t care. Didn’t know how to care. No caring. That’s you. You’re free to float across the landscape, like that time you drove across the country with your old friend whom you’ve lost touch with. Let go… and enter the tantric economy. It isn’t worth it.