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Current

OPEN STUDIOS WITH WORKSPACE ARTISTS-IN-RESIDENCE

Friday, May 11 from 6:00pm - 9:00pm
Saturday, May 12 from 1:00pm - 8:00pm
LMCC's Studios at 101 Greenwich, 15th floor

This event is free, but a RSVP is required.
RSVP and/or learn more here.
Once you RSVP, your name will be added to a check-in list on site (no confirmation email needed!). Simply, bring a photo ID to check-in with building security.

GEOMETRY OF OPPRESSION
SPACE Gallery

March 16 - May 12, 2018
Artist Talk - Friday, March 16 7-8p at SPACE Gallery

Sandra Erbacher’s most recent work explores the parallels between bureaucracy and fascism via the appropriation and juxtaposition of text and diagrams from office furniture archives, images, fascist architecture and fashion, and the history of Nazi Germany.

Shared formal characteristics between juxtaposed sets of images are emphasized, in order to allude to detached efficiency, rational compartmentalization, rigid rules, and a formal hierarchical structure, while their origin and meaning is purposefully obscured. As a result of their juxtaposition, fluid associations between disparate narratives are created, while others are cast into doubt. This, in turn, generates a situation of ontological uncertainty that aims to undermine any notion of absolute truth.

For more information visit SPACE

TIIC

March 16 - May 12, 2018
Opening Reception - Friday, March 16 5-7p at Border Patrol
Artist Talk - Friday, March 16 7-8p at SPACE Gallery

For TIIC, Sandra Erbacher presents a suite of seven formal portraits of both Nazi officials and IBM managing directors. Collectively known as Faces of Fascism and Bureaucracy, the portraits are part of an ongoing series of graphite drawings that the artist initially created as a response to Edwin Black’s book, IBM and the Holocaust, which charts the business connections between IBM and the Nazi regime. In the process of drawing, the artist's initial concern to chart the parallels between fascism and bureaucracy--evident here in the authoritative expressions, formal business attire and homogeneity of race and gender--extended to an interest in the assumed status of the archive as a neutral container for an objective, historical truth.

Erbacher aims to construct an archive that casts the boundaries between fact and fiction into doubt; in fact, the portraits of IBM directors and Nazi officials appear almost interchangeable. The work poses questions about the ways in which dominant power relationships are tied up with the creation and governance of an archive or narrative history and how such an archive shapes one’s relationship to the past, present and future.

The more deliberately obscure exhibition title, TIIC (an acronym for The Idiots in Charge) is taken from the eponymous neon artwork in the gallery’s back room. Extracted from its particular corporate context, TIIC alludes to business jargon, occupational acronyms, and corporate communications. This commonplace if not irrational class of language is traditionally employed by government agencies as a tactic of abstraction and reinforced by the gallery’s intentional resemblance to an office waiting room.

For more information visit Border Patrol