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'gLuTcH', Off-Site Show by Bora Akincitürk and Mario Miron at Sinkhole project, New York

Since the beginning of this project my relationship to fences has changed. I started to look at fences the way skaters look at a ledge or a system of roots that is upending a sidewalk. I know about how skaters look at things. I used to skate; Mario still does. I’m sure people say this all the time, but maybe skaters often end up involved in art because their brains are already wired to see clever uses for things. I want to be clear: despite my thinking this, I still proudly enjoy my toxic practice of looking smugly at a group of men skateboarding and thinking to myself “These people need to get jobs and start a family”. 

Mario’s now deceased grandfather had a job and family. He walked to that job from Brooklyn to Manhattan across the Williamsburg bridge every day. He likely never thought to himself, “maybe I should hang some art on the fence on this bridge.” This was a thought that Mario had and proposed to me as a sinkhole exhibit. I said yes because I love Mario and he’s very hard working (absurdly so). I also liked the idea of the show connecting distant people, Bora and the grandfather. 

I’m not much of a reader so I’m unsure if this is a hack notion, but i thought about how bridges are the opposite of fences in way. Bridges allow one to travel to places that they couldn’t otherwise. Fences inhibit travel, usually in the interest of protecting property. Fence-like structures also line the edges of a bridge, but these fences protect your life. 

I always privately thought of the project as a subtle protest gesture that attempts to create connection through art via an architecture that’s designed to inhibit it. But here, on a bridge, the fence stands as a barrier between us, our death, and our dead relatives. There is certainly something poetic happening there, but maybe Bora and Mario will address that with the art they hang. 

— Joe Speier

Sinkhole Project

'Thundercage 31' by Matthias Odin and Valentin Begarin at Thunder Cage, Aubervill

'Brown Carpet' by Harley Kuyck-Cohen at Slugtown, Newcastle

'Big Pie' by Anna Taganzeva-Kobzeva at devyatnadtsat gallery, Moscow

'The Remains of Genetic Salon' by Bobby Yu Shuk Pui at Podium, Oslo

'Ultra-gentle manipulation of delicate structures' by Alicia Adamerovich at Proje

'Unfollow you, dark doom, honey' by Nika Temeeva at Spas Setun, Moscow

'NOCLIPLILT' by Rolf Nowotny 
at Simian
, Copenhagen

'Sombre Dimanche' by Julie Béna at Longtermhandstand, Budapest

'ANIMA MUNDI' by Gwen and Ernest Gachet at 13 Vitrine, Prilly

'Through Puberty to Success', Group Show at Shore, Vienna

'Ominous Tales of a Dreaming Wrinkle', Group Show at Scherben, Berlin

‘PO RA’ by Stasia Grishina and Anton Andrienko at IP Vinogradov, Moscow

'The Hierarchy of Lows' by Laura Gozlan at Les Bains-Douches, Alençon

'I heard myself close my eyes, then open them', Group Show at BRAUNSFELDER, Colog

'The Eye, the Hands, the Lunacy of Lunar Sightings' by Monia Ben Hamouda at jevou

'Penumbra' by Sarah Księska at Ramiken, New York

'Neuzeit Grotesk', Group Show Curated by Camila McHugh at Gunia Nowik Gallery, Wa

'not before it has forgotten you' by Group Show at NıCOLETTı, London

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