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F I P

ALWAYS ALREADY HERE VOL.2

March 18 - May 16, 2016
Opening Reception: Friday, Mar. 18, 7-11 PM
Curated by Joshua Bienko of Ortega Y Gasset Projects

Participating Artists:
Neil Bender, Kirsten Bryant and Thomas Storey (K’Swizz featuring Texas Trigg), Sean Joseph Patrick Carney, Ann Catherine Carter (Lavender), Jennifer Coates and David Humphrey (The Frogz), Peter Cotroneo, CYNE, Matthew Drutt, Angela Dufresne, Black Galaxy Entertainment, Rubens Ghenov, Fritz Horstman, Folkert de Jong, ShaRa Lunon, JJ Miyaoka-Pakola, MSHR, Ross Simonini and Andrew Leland (Blood Pillow), Ross Simonini and Ben Bromley (New Villager) Allison Shulnik, SpectroFeeder, Dominic Terlizzi, Zahar Vaks, Roy Vastenburg, Hilary White, and Matthew Whitehead.

Gallery Protocol is pleased to present Always Already Here Vol.2, a group exhibition and mix-tape curated by Joshua Bienko of Ortega y Gasset Projects. The exhibition brings together a broad range of visual arts, music and performance in an open-ended examination of interdisciplinary practice.

Art-making is a leap of faith, and those who find that faith rewarded are likely to leap again. It is not a coincidence, then, that so many painters are poets, or that so many artists are musicians. Always Already Here Vol.2 is a celebration of this phenomenon, bringing together the visual art and music of a group of artists who practice both. Like any good celebration, the outcomes of the exhibition are not entirely foreseeable: What happens when visual and musical art share the same space? What happens when these artists’ worlds collide and the divergent threads of their practice are suddenly united?

The metaphor of the leap of faith speaks to the uncertainty and physicality of moving out into unknown territory, where impulses and/or gut feelings often take us beyond understanding. The appropriateness of this metaphor is compounded in discussions of visual art and music, which thrive in the spaces outside rational thinking and (particularly in the case of music) can reconnect us to our own physicality in powerful ways. This exploratory leap also becomes a process of empowerment, through which we learn about ourselves and become not merely consumers, but creators of culture and curators of our own experience. This is fundamentally the logic of the mix-tape: “I am no mere consumer of pop culture, it says, but also a producer of it. Mix tapes mark the moment of consumer culture in which listeners attained control over what they heard, in what order and at what cost.” (Matias Veigener, as quoted in Thurston Moore’s Mix Tape: The Art of Cassette Culture)

Even while evading rationality, then, these artistic efforts are not without a kind of logic. And for the artists who embrace it, the distinct operational locations encompassed by this kind of pluralistic practice can, like points on a map, work collectively to more clearly define the shape of the artist’s conceptual, aesthetic or philosophical terrain. With that in mind, Always Already Here becomes a forum within which the hidden structure of an artist’s own practice, however deeply or unconsciously embedded, may slowly rise to the surface, revealing to the audience and to the artists themselves what was, in that sense, always already there.

Opening Reception: Please join us Friday, March 18 from 7 to 11 p.m. for an opening reception and listening party, featuring the debut presentation of the Always Already Here Vol.2 compilation album and live performances by Hilary White, Black Galaxy Entertainment, CYNE, and SpectroFeeder, organized by Hilary White. The Always Already Here Vol.2 album will be available for purchase during the reception and following the reception at Gallery Protocol and galleryprotocol.com

Ortega y Gasset Projects is an artist-run curatorial collective and exhibition space in the Gowanus neighborhood of Brooklyn, New York. OyG programming is motivated by a collective desire to sustain artistic vitality, whereby artists take the role of curator, critic and promoter (or in this case, producer, musician and hype-man). Working without specific intentions of commercial profit or an explicit curatorial ideology, the goal of OyG is to mount exhibitions that provoke interpretation and dialogue. There is a DIY ethos that seeks to antagonize the space between rampant consumerism and content production. (oygprojects.com)

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(Below are photos from the Opening Reception)