Center for Land Use Interpretation Jace Clayton Fritz Haeg, John Treffer, Mara Joustra Charles LaBelle Mariana Mogilevich Rocío Rodríguez Salceda Alex Slade Matt Steinberg Haegue Yang
FOR IMMEDIATE RELEASE	Silver Shed 119 WEST 25TH STREET PH NEW YORK NY 10001 TEL +1 646 322 3324 FAX +1 212 929 4038 WWW.THESILVERSHED.ORG info@thesilvershed.org

THE TWENTYFIRST	November 15, 2008 - January 10, 2009                         Opening reception: Saturday November 15, 6:00 - 9:00 pm                         (Winter Break: December 21, 2008 to Jan 5, 2009)
The collaborative project space Silver Shed presents the third and final installment of its opening exhibition triptych. The Twentyfirst explores values and ethics of current artistic practices, often involving interdisciplinary activity. The turn of this century is marked by both blurred art and design boundaries; desires to activate ‘social relations’ by mobilizing the politics of representation, and a revisiting of the conventions of gallery space and institutional systems, as well as a renewed questioning of the interface of the object and the surrounding viewership. Participatory models, such as Bourriaud’s Relational Aesthetics, and Post-Production, alongside the globalized green movement and other social consciousness initiatives, have recently engendered a new pedagogical field of ‘Public Practice’ in many art institutions. CLUI, a research based organization started in the mid-1990s that investigates traces of American industrial infrastructure, and operates as a distributed interpretation and study center, is represented here with a selection of its poignant hand-made and published printed matter, reflecting broader values of land use. Conversely, Alex Slade’s photographs of sites of architectural potential, capture a set of general indicators of spaces of development only revealed by the titles. In ‘Sierra Lakes Hospital’, stacks of palettes and lumber on a plot of land conspicuously absent of people, wait under a looming surveillance cameras and a boundless sky, suspending a generically inscribed future. Haegue Yang’s work stages placelessness (perhaps imagined non-place) reflecting her own life of living abroad from a homogenous society of Korea. Her description of her practice as a poetic activism bridges the symbolic and the formal, as in ‘Three Kinds in Transition,’ a DVD slide show of images of globes. The vanishing confiterias of Mariana Mogilevich’s project, present a local story of that is symtomatic of effects of global forces. The rounding of a range of traditional Euro-Argentinian pastries, underscores the consumption of pleasure and economy of craft, in global geographies of changing/dissapearing urban/social/cultural histories. Fritz Haeg’s interest in social spaces and conditions of architecture and landscape, takes on existing ideological constructions of exterior space, activating community relationship shifts from symbolic nature to ecological nurture. A nostalgic equation of repurposed development can be read in Matt Steinberg’s painting. In ‘Untitled,’ a foregrounded history of a turn of last century Chelsea warehouse overlaps a turn of the millenium ‘transparency architecture’, behind a growing green patch of the future High Line landscape, rendered in a Hopper-esque dusk/dawn twillight. Jace Clayton and Rocío Rodríguez Salceda’s collaborative piece takes on generic file attribution and authorship issues of obliterated audio & visual meta-data, reflecting on the potential of cumulative knowledge and the information ecology of memory, erasure, and the recirculating of digital cultural offerings via global formats of compressed data. Clayton is giving away a limited edition CD containing all of his commercially available audio- each bearing the same title (DJ_Rupture.mp3), as Rodríguez Salceda prints found images (all titled "foto_02.jpg") on edible strips of rice paper, for public consumption. Committed to a comprehensive single project of documenting the façade of every building he enters, Charles LaBelle’s drawings rendered in his own blood, along with an archive of data, are a personal history of moving through the world, mobilzing strategies of 1970s and 1980s conceptualism into the 21st century.
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