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More fun than scream therapy is the purposeful and cathartic smashing of objects: a rare zone aligning celebratory cultural traditions with a Limp Bizkit ideology.
Elif Erkan’s Grounded, showing as part of Park View’s group show The Social Register, embeds shattered china plates into a warm-hued chunk of cement. Whether made in celebration or anger, this, along with Jules Gimbrone’s Traps and Transmutations, are The Social Register’s most compelling signs of life. Elsewhere, the show’s subtlety might better be termed “life-like.”
The Social Register evades certainty perhaps because “the social” so easily lends itself to misreadings, vague assertions and outright denial. Its title alludes to class, a concern not shared by many of the works included, and the principle of the social is unevenly applied across works that range from generic to deeply personal.
Buck Ellison’s Thyroid Problem and Hudinilson Jr.’s Auto-retrato (Exercicio de Me Ver) share a level of intimacy interrupted by each work’s distancing tactics. Measured against Gimbrone’s installation—a riff on Alvin Lucier occupying Park View’s bedroom gallery—Ellison’s tastefully disquieting photography and Hudinilson Jr.’s facsimiles of the body seem cold. In Traps and Transmutations, bass reverberations and artifacts of an earlier performance maintain a presence—an interaction in real time and space—probing the viewer’s relation to Gimbrone’s obscure reading of the room.
The Social Register runs September 19–November 7, 2015 at Park View (836 South Park View Street #8, Los Angeles, CA 90057)