Courtesy of Kori Newkirk

so many voicemails
lost in edison ether
con-fusing flesh router of my
flesh routes and roots
and tracing pathways after the fact
of the event of the fact.


don't you get it?
nobody told me what the code was before
i felt like i couldn't talk to you

don't you get it?
nbodoy tlod em waht teh cdoe wsa breofe
i felt like i couldn't talk to you

don't you get it?
mpnpfu ypaf zr ejsy yjr vpfr esd nrgptr
i felt like i couldn't talk to you

don't you get it?
ÿ(ÿ t - ÿÿ ÿ¥ )t/ - ) the ÿà ¶ )8 t- ) )/ - )
i felt like i couldn't talk

Ace Travel Company

Courtesy of Lygia Clark

tractor beam pulls to insectly skies
tractor pull, gridly

but the insects move far more beautifully than this.


don't read this as transcendence, historian!
wake up!

love couldn't be any more immanent
if it bit us right in the neck
like a mosquito or a
zombie avatar clone Deleted.


shield your eyes
with static veiling,
a dark potential is our present house

a question, unsayable.

fleshly, sung from afar.

silently singed,
we roll out the sparkles
grounded with lygia Like
in a real-life basketball dream.

Compass (with apologies to Bruce Nauman)

Compass (with apologies to Bruce Nauman)

Idea for a Conceptual Art Project, No.22:

1. Stage lights are hung from the ceiling in a grid-like formation.

2. The array of lights is programmed to illuminate the artist primarily from the back side, such that a shadow is thrown forward in front of the body.

3. The artist walks in the direction of the shadow.

4. Using certain chance elements in the lighting program the intensity of the luminescent field slowly modulates. The shadow begins to "come around" the side of the artist's body, such that the magnitude and direction of the thrown shadow vector is continually in flux. A topological architecture of light is created.

5. The artist also modulates course and continues to walk toward the direction of the shadow, not allowing its magnitude to become overly shortened (or captured).

6. The artist's head is bowed, looking straight ahead toward the shadow at all times. A camera affixed to a pair of glasses captures what the artist sees while tracking the moving shadow. The video from this camera is played live on a projection screen and also serves as documentation of the performance.

CP1 Contemporary

CP1 Contemporary

Critical Space

CP1 Contemporary is an artist-run space located in an abandoned squash court. In this imagined space we offer curation and criticism of contemporary art that engages sport in a variety of ways. Proposals are welcome from artists, athletes and curators who wish to explore these themes and the potential of this imagined, yet critical space.


Many of the images contained within CP1 Contemporary exhibitions are bordered at the top and bottom of the frame by thin red lines. Not only do these attempt to set apart a distinct visual space from the blue-dominated perimeters of Facebook Square, but they serve a symbolic function as well.

When serving the ball in a squash match, the middle red line painted on the court's front wall acts as a delineator: balls served below that line are considered foul while those served above would constitute fair play. If the service is the opening to the dialogue of gestural play, then consider the red lines in CP1 Contemporary exhibitions to also serve as delineators in this opening of ideas.

Does the service gesture drop foul or fall within the parameters of fair play? Does the middle line of the squash court frame the top or bottom border of the curated artwork?

CURRENT: Speed and Politics: A Tribute to Paul VirilioUPCOMING: Collective+MemoryUPCOMING: Skin TectonicsUPCOMING: Re:visioning Versus

title cards for the first four exhibitions on the cp1 contemporary program

Curatorial Statement

Though the museum or art gallery space has been under attack for some time as being enclosed, politicized and elitist in economic or theoretical senses, one of the attributes they still in fact retain is their volumetric quality. These are three-dimensional spaces and we are three-dimensional bodies who inhabit and potentialize them.

The move to our current space in Facebook Square flattens out the volumetric aspect of the gallery or museum experience considerably. The technics offered by the album format also impose a sort of linearity to the aesthetic program, and in this sense we might consider the exhibitions presented here more as visual mixtapes from the kinetic archives of sport and art.

This sort of curatorial exercise must not be understood as a “liberatory” art practice in the spirit of those other movements mentioned earlier, then, but rather as a tentative compromise with the prevailing forces of marketing and governance in this flattened space to redirect the flows of exposure in a potentially meaningful fashion.

In short, CP1 Contemporary may not be an art gallery at all. It may not be of any interest to the jaded art market connoisseur or the tired cosmopolitan critic. It may simply be an imagined space for those few who are curious about art and also happen to like sport as well.


This space attempts to interrogate a grey zone within both "the art market and intellectual property" as well as "art spectatorship" in our curatorial process. If one created a series of links to art works and posted them as text, this would not be considered problematic. But if one were to take the image proper and post it elsewhere, it does potentially become problematic all of a sudden, and yet it is also a digital file constituted wholly by alphanumerical text.

This is further complicated by the fact that if one takes a screenshot of an image one is technically using a "virtual camera" — which then modulates the dynamics of ownership and dissemination. If it is in the grand electronic consciousness that is the internet, then we have all "thought" these images already, so to speak.

As such, we want to tread lightly and fluidly as the CP1 Contemporary space emerges. We want to have the utmost respect for the artists, and yet push forward new ways of thinking about what is possible in expression.

The way we have decided to approach this sort of "remix curation" is to simply go ahead without explicit permission — in the sense of a "politics of touch" (cf. Erin Manning) — and enact this subtle violence because of a deep respect for these artists and their works. We link back to the original page to acknowledge our sources and allow viewers to perhaps be exposed to other works by the same artist.

If your work has been presented here and you do not want it to be, simply contact us and we will be happy to remove it immediately. Otherwise, we hope you like the homage and thank you very much for continuing to create.



pinkeye — concept for gallery wall installation — 2011