godmodadoggerel.com

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	<title>godmodadoggerel.com</title>
	<link>https://godmodadoggerel.com</link>
	<description>godmodadoggerel.com</description>
	<pubDate>Wed, 20 Nov 2024 22:46:07 +0000</pubDate>
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		<title>Desktop</title>
				
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		<pubDate>Sat, 25 May 2024 02:56:59 +0000</pubDate>

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GODMODADOGGEREL


 a group show about art, science, and survivalorganized by anna wittenberg &#38;amp; nick herman
 
	ARTISTS

WHERE &#124; WHEN


FRAMEWORK

INSTALLATION IMAGES


Wrestling with the vital but awkward twin subjects of science and art it appears that something is missing. Askew. A not-so-subtle erasure repressing the origins of this shattered age. God. 


A doggerel. 


A guttural intersection of howl and howler, GODMODADOGGEREL foregrounds the structure and materiality of carnival to confront time and its belligerent handmaid, language. Here, in the wily lyricism of poetry and the logic of sacred violence rests the germ of the exhibition. This is the origin of the portmanteau “godmod,” a term that today evokes gaming but that stretches back to prehistory in its purpose and politic. The modification implied in any technological hack, whether first person shooter, alchemy, or clowning, is one of distinction, up and down, in and out, healthy and sick. A godmod is the expansive and tangled intersection of mimicry and desire underlying the stochastic attempt to adapt in order to survive. GODMODADOGGEREL finds its inspiration in this hybridization and systemization of eros, blurring the lines between bodies in order to reanimate the messy techne that insures life. 


GODMODADOGGEREL brings together a group of artists whose diverse working methods link the roles of mechanical instrumentation with the urge to map and divine meaning in things. It is this interest in the apparatus—as a tool of decipherment—that frames GODMODADOGGEREL. 


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		<title>Framework</title>
				
		<link>https://godmodadoggerel.com/Framework</link>

		<pubDate>Mon, 17 Jun 2024 17:15:48 +0000</pubDate>

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		<description>
 &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
HOME

	ARTISTS
WHERE &#124; WHEN


GODMODADOGGEREL


This is as strange a maze
as e'er men trod,


And there is in this
business more than nature


Was ever conduct of
Some
oracle


Must rectify our knowledge.


As with the confused mariner
Alonso in Shakespeare’s The Tempest, the prevailing analogy for
understanding nature has always been architectural. Whether it is the altar or
the icon, interlocution requires a device. What is more familiar to the reader,
than the cliché of pulling back the curtain or, more on point, crossing the
threshold, moving from darkness into light, and the ritual therein?


Science, and its particular
rubric, has over centuries evolved to mirror this same reliance on delineation.
Bernard Siegert, channeling the 19th century architect Gotfried
Semper’s observation that the first architectonic gesture was that of the fold,
reminds us that science was initially a question of keeping time. In this way shelter
marks the human experience of seasons, protecting us and also predicting, in a
way, times cycle, thereby anticipating the many ways the calendar will come to
dictate culture in carnival and religion. 


For Siegert, the fold is
synonymous with the door and its predecessor the gate, a tool that in his words
“turns the hunter into a shepherd…” and with that the door becomes a synthesis
of technology and consciousness, “of a coevolutionary domestication of animals and&#38;nbsp;human beings.” And much like the churchbell—marking the hours of
preindustrial society—the fold has helped shape both space and time leading us
to the modern present, echoing the symbol of the serpent and evincing digital
tech’s language of switches.


It is here that we also locate
art and its collision with science, as a device that, like the door and time,
serves primarily to assist humans in creating and controlling space. This is
the origin of the exhibition title “Godmod,” a term that today evokes gaming
but that stretches back to prehistory in its purpose and politic. The
modification implied in any technological hack, whether first person shooter,
alchemy, or clowning, is one of distinction, and for Siegert, distinction
presupposes “not only an observer who observes this distinction but techniques
that process this distinction and therefore first make observable the unity of
the things distinguished.” Embedded in this statement is the squirrely “unity”
or perhaps more bluntly, origin, a fraught concern weighed down by history and chauvinism
but one that marks the pull to science.


What is our shared language for
untangling this febrile evolution? What once was called pneuma? What
tools, what modifications to the architecture of our shared environment / game
space can be imagined as a bridge between these players? 


This entangled past and
question of the future has today resurfaced with profound urgency as laid out
by Bruno Latour whose term “hybrid” reflects this attempt to describe the
proliferating intersections of living and non-living agents. 


Implied in this choreography
of things is that there are still methods, erotic, technological, absurd, that
can be activated to engender this relation -- what Anselm Franke calls a second
“first contact” of the moderns with everyone else. Might this meeting be a
stage? A new doggerel to re animate our “business more than nature”? 


The dogdom doggerel is the
voice of the oracles, still present, and it is these actors that GODMODADOGGERELwill highlight in the group exhibition arranged in response to the Getty
initiative “PST ART: 'Art &#38;amp; Science Collide' scheduled for fall of 2024,
curated by Anna Wittenberg and Nick Herman. 


 DOGDOM DOGGEREL REFERENCE
	

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	<item>
		<title>dogdom doggerel</title>
				
		<link>https://godmodadoggerel.com/dogdom-doggerel</link>

		<pubDate>Sun, 21 Jul 2024 17:57:14 +0000</pubDate>

		<dc:creator>godmodadoggerel.com</dc:creator>

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HOME
FRAMEWORK
WHERE &#124; WHEN 
DOGGREL / GOD MOD


poetry
that is irregular in rhythm and in rhyme, often deliberately for burlesque or
comic effect.


DOG DOM / An exegesis of
power and the eros that charges its rise. 


Blunderbuss blazon sick
ass dog


Carnival fart face nothing
but a cog


 -the eds.


https://www.theparisreview.org/blog/2017/10/19/renaissance-poetry-precursor-rap-battles-flow/


&#38;nbsp;


https://shc.stanford.edu/arcade/interventions/reduced-rhyme-contemporary-doggerel


An exhibition exploring
the pneumatic synthesizer. 


While a sincere framing of
one of the most significant intersections of human endeavor including modern
medicine and architecture, as well as the foundation for cosmology and magic
around the world, viz, creation myths, PST will inevitably have the stench of
Getty’s extraction logic and greenwashing not to mention the awkward disconnect
and institutionalization of eros in museums and galleries in the contemporary
art market. 


Taking the tact that
science is rooted in Platonic mystery of origin and by extension the
evolutionary vectors of attraction that underlie procreations, the poetic genre known as doggerel finds
it inspiration in cyclical grammars of festival and holidays as well as the
messy techne that defines the hand made object. It is here, in the proto
science of astrology and weather prediction, plant medicine and pnuematic
function, that art and science were born. 


A godmod is the expansive
and often tangled intersection of biomimicry showcasing the stochastic attempt
by life to adapt and transform its environment in order to thrive. The
invention of God is arguably one of the most profound technological adaptations
of human beings and its more recent use as a term in computer science and
gaming reflect how long the tail of this utilitarian invention is and equally
how random.


Adopting the title godmod
as a central axis around which to curate an exhibition of visual art is founded
on the principle that science and by extension all technological models
including art that seek to map / model the logic of life structures are
apparati. That is, a tool for decipherment, and that the laboratory logic of
experimentation is paramount. Evolution is itself a protracted godmod, a game
of survival. 


The principle idea of a
godmod as currently understood in gaming is the ability of a player to hack or
otherwise adapt the rules / governing code of the game in order to prolong the
game. A basic example might be to replenish one’s vitality or protect oneself
against death (so as not to lose). 


More nuanced examples
might loosen or eliminate other binary concerns such as gender, speciesism, or
time itself. 


In short, a godmod makes a
mockery of the human projection of linearity, logic, and control. In this way
it it uses the subterfuge of law to seed chaos and as such it resembles magick
and the avante-guard in art. 


As such godmod is a
doggerel, a trickster undoing of the orthodoxies that purport to distinguish
truth and canon of man. It is not unscientific, merely agnostic, asserting the
prevalence and inevitability of unseen forces and reversals. 


It is in light of this
doggerel that godmod finds inspiration in the the literature of Rabelais and
his framing by Mikhail Bakhtin whose emphasis on festivals, feasts, and most
pertinently humor seeks to showcase how death and the “material bodily
principle is concomitant of birth or regeneration.”


Apparatus, whether sexual
in design or scientific in intent is therefore a mirror reflecting the ebb and
flow of this cyclical attraction and magick and its many many permutations
around the world is the proto systemic attempt to deploy this technical
thinking in order to define the epistemic contours of instinct. 


What doggerel portends,
and godmod reifies, is the open-ended symbiotic relationship between matter
(and by extension all objects) and ontology, a truth implicit in the season
calendar and festival as well as in hybridization and ritual adaptation of all
kinds, including specifically, the game. 


Errata:


PST is ostensibly about
science and art. No where is this connection more storied confused and electric
as in history of magick… magick as the set of techniques and ciphers that
outline energy and influence in social relationships…


 What is best understood as
eros… the game of power… what Giodorno Bruno called bonds/ chains of eros&#38;nbsp; and Rene Girard calls “mimetic desire.”


… in particular Im
interested in outlining how command control underlines
the godmod principle /argot and how that might be traced back to something like
the hinge (something I touch on in traplines trap) and the garden (of eden) as
a kind of closed circuit open circuit modality that reveals non human role in human
consciousness… a very alien metaphor…. &#38;nbsp;this is the literal switch at work
in the archetypal godmod… as playfully explored in video game renderings of
“health” “points” “levels” and winning and how they can be rewritten through
apparatus / language/ ritual in a way that smells like William Burroughs.
&#38;nbsp; 


Funnly enough this not
only feels like gesture but ab ex as pneumatic synthesizer. 


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		<title>artists</title>
				
		<link>https://godmodadoggerel.com/artists</link>

		<pubDate>Mon, 21 Oct 2024 16:53:13 +0000</pubDate>

		<dc:creator>godmodadoggerel.com</dc:creator>

		<guid isPermaLink="true">https://godmodadoggerel.com/artists</guid>

		<description>HOME
FRAMEWORK
WHERE &#124; WHEN 
PARTICIPATING ARTISTS

Isa Carrillo Mark FloresLinda FrankeLucía Hinojosa Gaxiolafields harrington Asher HartmanInès KivimäkiMark Leckey Louise Landes Levi w/ Kawabata Makoto Euan MacdonaldPaul McCarthy Olivia Mole Sam ShoemakerRudy ShepherdErika Vogt Nick Herman &#38;amp; Anna Wittenberg 


with special contributions by Richard Barnes, Mark Glusker, 
and Damian Montano with members of the Los Angeles Chamber
Orchestra


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		<title>REF</title>
				
		<link>https://godmodadoggerel.com/REF</link>

		<pubDate>Sat, 25 May 2024 02:57:01 +0000</pubDate>

		<dc:creator>godmodadoggerel.com</dc:creator>

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		<title>Installation Images</title>
				
		<link>https://godmodadoggerel.com/Installation-Images</link>

		<pubDate>Sun, 17 Nov 2024 00:08:42 +0000</pubDate>

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		<description>520 N. Western Ave., Hollywood Nov 3 - Dec 8, 2024
HOME


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&#60;img width="3964" height="2648" width_o="3964" height_o="2648" data-src="https://freight.cargo.site/t/original/i/b4e69754ed0a8d7bab5208f4a15343052e63c764297d5155b2de5202bcf0eac5/7_Sam-Shoemaker.jpg" data-mid="221890604" border="0" alt="Sam Shoemaker, Diogenes' Coin. Pycnoporus sanguineus mycelium, hemp, synthetic textiles, ceramic braces. 2024" data-caption="Sam Shoemaker, Diogenes' Coin. Pycnoporus sanguineus mycelium, hemp, synthetic textiles, ceramic braces. 2024" src="https://freight.cargo.site/w/1000/i/b4e69754ed0a8d7bab5208f4a15343052e63c764297d5155b2de5202bcf0eac5/7_Sam-Shoemaker.jpg" /&#62;
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/56b4b7703318a84808ccce8362fc56fa7184c9708140060918076d4364831411/6_Damian-Montano_Detail.jpg" data-mid="221890597" border="0" alt="Damian Montano &#38;amp; members of Los Angeles Chamber Orchestra. Bassoon and oboe reeds. 2024." data-caption="Damian Montano &#38;amp; members of Los Angeles Chamber Orchestra. Bassoon and oboe reeds. 2024." src="https://freight.cargo.site/w/1000/i/56b4b7703318a84808ccce8362fc56fa7184c9708140060918076d4364831411/6_Damian-Montano_Detail.jpg" /&#62;
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/323206b5626ceacd11c395628b649b30bd560f5c17f73a83b7e99ef137e1b0d7/8_Ines-Kivimaki_Detail2.jpg" data-mid="221890618" border="0" alt="In&#38;egrave;s Kivim&#38;auml;ki, Glamour Grammar. Single channel video loop with sound, mirror TV. 2024." data-caption="Inès Kivimäki, Glamour Grammar. Single channel video loop with sound, mirror TV. 2024." src="https://freight.cargo.site/w/1000/i/323206b5626ceacd11c395628b649b30bd560f5c17f73a83b7e99ef137e1b0d7/8_Ines-Kivimaki_Detail2.jpg" /&#62;
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/9521954600cfdbf22f598f20ae38877c1de53d866d8994b89a77356e3d6d2722/8_Ines-Kivimaki_Detail1.jpg" data-mid="221994141" border="0"  src="https://freight.cargo.site/w/1000/i/9521954600cfdbf22f598f20ae38877c1de53d866d8994b89a77356e3d6d2722/8_Ines-Kivimaki_Detail1.jpg" /&#62;
&#60;img width="4016" height="2682" width_o="4016" height_o="2682" data-src="https://freight.cargo.site/t/original/i/019ea958f279289af21009eba50cec529e77437ae8f6cd4736ff291ec040614c/11_Olivia-Mole1.jpg" data-mid="221890613" border="0" alt="Olivia Mole, &#38;quot;Sotto in S&#38;ugrave;: Dopesheet Batman S7.&#38;quot; 2024." data-caption="Olivia Mole, &#38;quot;Sotto in Sù: Dopesheet Batman S7.&#38;quot; 2024." src="https://freight.cargo.site/w/1000/i/019ea958f279289af21009eba50cec529e77437ae8f6cd4736ff291ec040614c/11_Olivia-Mole1.jpg" /&#62;
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/21594e6cdf9cd9902c7200fabd1b58e73795fa6198bf32e2c3ba5293f6a0c0dc/11_Olivia-Mole2.jpg" data-mid="221890616" border="0"  src="https://freight.cargo.site/w/1000/i/21594e6cdf9cd9902c7200fabd1b58e73795fa6198bf32e2c3ba5293f6a0c0dc/11_Olivia-Mole2.jpg" /&#62;
&#60;img width="3604" height="2407" width_o="3604" height_o="2407" data-src="https://freight.cargo.site/t/original/i/955029444289fd56627741ca15351fdf71e2d3b5c12d91646d293db0d8c7d14b/15_Erika-Vogt.jpg" data-mid="221890649" border="0" alt="Erika Vogt, Image Blocker 6. Acrylic, linen, paper, thread, marker. 2024." data-caption="Erika Vogt, Image Blocker 6. Acrylic, linen, paper, thread, marker. 2024." src="https://freight.cargo.site/w/1000/i/955029444289fd56627741ca15351fdf71e2d3b5c12d91646d293db0d8c7d14b/15_Erika-Vogt.jpg" /&#62;
&#60;img width="3100" height="2071" width_o="3100" height_o="2071" data-src="https://freight.cargo.site/t/original/i/5b7f30c5826dc5fc2aea431535085276c1e4371c09755743e9c180e35c74ee6a/15_Erika-Vogt_Detail.jpg" data-mid="221890658" border="0" alt="Erika Vogt, Image Blocker 6. Acrylic, linen, paper, thread, marker. 2024." data-caption="Erika Vogt, Image Blocker 6. Acrylic, linen, paper, thread, marker. 2024." src="https://freight.cargo.site/w/1000/i/5b7f30c5826dc5fc2aea431535085276c1e4371c09755743e9c180e35c74ee6a/15_Erika-Vogt_Detail.jpg" /&#62;
&#60;img width="3690" height="2465" width_o="3690" height_o="2465" data-src="https://freight.cargo.site/t/original/i/1764298fcf6e2320eebba1d2ad75d91ef34a084fb43e7969c79f3ea789497674/16_Rudy-Shepherd_1.jpg" data-mid="221890656" border="0" alt="Rudy Sheperd. Healing Devices: No. 2,3,7,8,16. Glazed ceramic. 2012" data-caption="Rudy Sheperd. Healing Devices: No. 2,3,7,8,16. Glazed ceramic. 2012" src="https://freight.cargo.site/w/1000/i/1764298fcf6e2320eebba1d2ad75d91ef34a084fb43e7969c79f3ea789497674/16_Rudy-Shepherd_1.jpg" /&#62;
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/e1794a73930142522abc9beb501f6e344166ba40ff8042295cb03b715df4ac44/16_Rudy-Shepherd_2.jpg" data-mid="221890638" border="0"  src="https://freight.cargo.site/w/1000/i/e1794a73930142522abc9beb501f6e344166ba40ff8042295cb03b715df4ac44/16_Rudy-Shepherd_2.jpg" /&#62;
&#60;img width="2598" height="3889" width_o="2598" height_o="3889" data-src="https://freight.cargo.site/t/original/i/665ca0bea7b9e2b0b414f79bb0536d638930453f3dc00365f48465dba1a68bd7/9_Nick---Anna.jpg" data-mid="221890605" border="0" alt="Nick Herman &#38;amp; Anna Wittenberg, Seasonal Appliance v.1. Mixed-media, timer, amplifier, sound, pump. 2024." data-caption="Nick Herman &#38;amp; Anna Wittenberg, Seasonal Appliance v.1. Mixed-media, timer, amplifier, sound, pump. 2024." src="https://freight.cargo.site/w/1000/i/665ca0bea7b9e2b0b414f79bb0536d638930453f3dc00365f48465dba1a68bd7/9_Nick---Anna.jpg" /&#62;
&#60;img width="4024" height="2688" width_o="4024" height_o="2688" data-src="https://freight.cargo.site/t/original/i/ad36526268f20cbfd9fc6aaa9b1348e39218fc76c755e4200d61d9e88e98aba7/9_Nick---Anna_Detail2.jpg" data-mid="221890663" border="0"  src="https://freight.cargo.site/w/1000/i/ad36526268f20cbfd9fc6aaa9b1348e39218fc76c755e4200d61d9e88e98aba7/9_Nick---Anna_Detail2.jpg" /&#62;
&#60;img width="3738" height="2497" width_o="3738" height_o="2497" data-src="https://freight.cargo.site/t/original/i/90d6c5ecce560a7bcbaab6dacc7018479bbc0ea910bd44708c40fba5ab124d15/14_Paul-McCarthy.jpg" data-mid="221994145" border="0"  src="https://freight.cargo.site/w/1000/i/90d6c5ecce560a7bcbaab6dacc7018479bbc0ea910bd44708c40fba5ab124d15/14_Paul-McCarthy.jpg" /&#62;
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/3096a5021b7d06fba7c00553cfe5dfa84ace7e6fd03d7ac0d5dc595d24057ca8/13_Lucia-Hinojosa-Gaxiola_Letters-to-Unknown-Letters.jpg" data-mid="221890595" border="0" alt="Luc&#38;iacute;a Hinojosa Gaxiola, Letters to Unknown Letters. Mixed media and sound. 2023." data-caption="Lucía Hinojosa Gaxiola, Letters to Unknown Letters. Mixed media and sound. 2023." src="https://freight.cargo.site/w/1000/i/3096a5021b7d06fba7c00553cfe5dfa84ace7e6fd03d7ac0d5dc595d24057ca8/13_Lucia-Hinojosa-Gaxiola_Letters-to-Unknown-Letters.jpg" /&#62;
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/d3dc8bfe8c560ebf5f6bd4181abf130784e32ab5b9db7b38255ddc92fb8cc902/10_fields-harrington.jpg" data-mid="221890622" border="0" alt="fields harrington, Project Scientia. Single channel video. 2019." data-caption="fields harrington, Project Scientia. Single channel video. 2019." src="https://freight.cargo.site/w/1000/i/d3dc8bfe8c560ebf5f6bd4181abf130784e32ab5b9db7b38255ddc92fb8cc902/10_fields-harrington.jpg" /&#62;
&#60;img width="4184" height="2795" width_o="4184" height_o="2795" data-src="https://freight.cargo.site/t/original/i/3d8a54c39d784e3296e6ddfac4763cd13e6a0d1724ff1af2ebbda6c2277b2e36/10_fields-harrington_Detail.jpg" data-mid="221890668" border="0"  src="https://freight.cargo.site/w/1000/i/3d8a54c39d784e3296e6ddfac4763cd13e6a0d1724ff1af2ebbda6c2277b2e36/10_fields-harrington_Detail.jpg" /&#62;
&#60;img width="4219" height="2818" width_o="4219" height_o="2818" data-src="https://freight.cargo.site/t/original/i/6f2c8f1c20b31b0eff0720346e0619bfdbfd213a43acc178b9f1ef1f03e8bf97/17_Mark-Leckey.jpg" data-mid="221890614" border="0" alt="Mark Leckey, GreenScreenRefrigeratorAction. Single channel video. 2010." data-caption="Mark Leckey, GreenScreenRefrigeratorAction. Single channel video. 2010." src="https://freight.cargo.site/w/1000/i/6f2c8f1c20b31b0eff0720346e0619bfdbfd213a43acc178b9f1ef1f03e8bf97/17_Mark-Leckey.jpg" /&#62;
&#60;img width="3768" height="2517" width_o="3768" height_o="2517" data-src="https://freight.cargo.site/t/original/i/ba0b3075129cb9cc9b92cf1d6533f1ee34474bd902c13b3412365831962bceb1/17_Mark-Leckey_Detail.jpg" data-mid="221890624" border="0"  src="https://freight.cargo.site/w/1000/i/ba0b3075129cb9cc9b92cf1d6533f1ee34474bd902c13b3412365831962bceb1/17_Mark-Leckey_Detail.jpg" /&#62;
&#60;img width="2760" height="4132" width_o="2760" height_o="4132" data-src="https://freight.cargo.site/t/original/i/3f1b35892ad147d7f9eea98aca23b913d87782aa3a75ce9657f70cc66325b92e/19_Louise-Landes-Levi-w-Kawabata-Makoto1.jpg" data-mid="221890623" border="0" alt="Louise Landes Levi w/Kawabata Makoto, Eternity poem. Read by artist with musical accompaniment. 2023." data-caption="Louise Landes Levi w/Kawabata Makoto, Eternity poem. Read by artist with musical accompaniment. 2023." src="https://freight.cargo.site/w/1000/i/3f1b35892ad147d7f9eea98aca23b913d87782aa3a75ce9657f70cc66325b92e/19_Louise-Landes-Levi-w-Kawabata-Makoto1.jpg" /&#62;
&#60;img width="4067" height="2716" width_o="4067" height_o="2716" data-src="https://freight.cargo.site/t/original/i/675454d892b1a34aa898b931f40d1df0300477666cdc90d8b779bf728ee60722/19_Louise-Landes-Levi-w-Kawabata-Makoto2.jpg" data-mid="221890617" border="0"  src="https://freight.cargo.site/w/1000/i/675454d892b1a34aa898b931f40d1df0300477666cdc90d8b779bf728ee60722/19_Louise-Landes-Levi-w-Kawabata-Makoto2.jpg" /&#62;
&#60;img width="1745" height="2612" width_o="1745" height_o="2612" data-src="https://freight.cargo.site/t/original/i/c85cf4ef2e969f8bf290351d289428a8af68675a5db665c07a276a318cd1ace0/18_Isa-Carrillo_1.jpg" data-mid="221890596" border="0" alt="Isa Carrillo, Pendulum resonance. Metal, wool. 2024." data-caption="Isa Carrillo, Pendulum resonance. Metal, wool. 2024." src="https://freight.cargo.site/w/1000/i/c85cf4ef2e969f8bf290351d289428a8af68675a5db665c07a276a318cd1ace0/18_Isa-Carrillo_1.jpg" /&#62;
&#60;img width="1922" height="2878" width_o="1922" height_o="2878" data-src="https://freight.cargo.site/t/original/i/717283ec76d00ad3704f6f8f58336d55f044ba26f959e88460d311ee3510bc1b/18_Isa-Carrillo_Detail1.jpg" data-mid="221890634" border="0"  src="https://freight.cargo.site/w/1000/i/717283ec76d00ad3704f6f8f58336d55f044ba26f959e88460d311ee3510bc1b/18_Isa-Carrillo_Detail1.jpg" /&#62;
&#60;img width="4096" height="2736" width_o="4096" height_o="2736" data-src="https://freight.cargo.site/t/original/i/a8614e7fb3c9bdbca7622aac5b957a38c0b56b76d565fa0673d84e856cae6bef/12_Mark-Glusker1.jpg" data-mid="221890607" border="0" alt="Mark Glusker, Olivetti Divisumma 24. Manufactured 1956-1971" data-caption="Mark Glusker, Olivetti Divisumma 24. Manufactured 1956-1971" src="https://freight.cargo.site/w/1000/i/a8614e7fb3c9bdbca7622aac5b957a38c0b56b76d565fa0673d84e856cae6bef/12_Mark-Glusker1.jpg" /&#62;
&#60;img width="3572" height="2386" width_o="3572" height_o="2386" data-src="https://freight.cargo.site/t/original/i/35e1dc5d7fe0506365eb9addc5d561f66c2ff5095da41a816b174ce9f6d39f64/1_Richard-Barnes1.jpg" data-mid="221890601" border="0" alt="Richard Barnes, Chamfer plane. Bronze. 2023." data-caption="Richard Barnes, Chamfer plane. Bronze. 2023." src="https://freight.cargo.site/w/1000/i/35e1dc5d7fe0506365eb9addc5d561f66c2ff5095da41a816b174ce9f6d39f64/1_Richard-Barnes1.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>where when</title>
				
		<link>https://godmodadoggerel.com/where-when</link>

		<pubDate>Tue, 11 Jun 2024 19:32:10 +0000</pubDate>

		<dc:creator>godmodadoggerel.com</dc:creator>

		<guid isPermaLink="true">https://godmodadoggerel.com/where-when</guid>

		<description>
HOME

	ARTISTS
FRAMEWORK
WHERE WHEN
520 Western AveLos Angeles, CA 90004(directly next to The Brick)&#38;nbsp; &#38;nbsp;November 3 - December 07&#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; OPENING November 3, 2024 at 2pmVISITING HOURS 
Friday and Saturday 12 - 6 Sunday 12 - 5&#38;amp; by appointment 

&#60;img width="1385" height="1210" width_o="1385" height_o="1210" data-src="https://freight.cargo.site/t/original/i/6b85743c377ffabf70802cbdd2b6fe7c02aafee8c21aab9798b8498219dfd63c/western-floorplan-2-copy.png" data-mid="218984897" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/6b85743c377ffabf70802cbdd2b6fe7c02aafee8c21aab9798b8498219dfd63c/western-floorplan-2-copy.png" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>mark flores </title>
				
		<link>https://godmodadoggerel.com/mark-flores</link>

		<pubDate>Mon, 18 Nov 2024 20:39:12 +0000</pubDate>

		<dc:creator>godmodadoggerel.com</dc:creator>

		<guid isPermaLink="true">https://godmodadoggerel.com/mark-flores</guid>

		<description>
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/a1583e11a492c7cd810c4147d52577a44f2ae186b76396b8dd1dbc4dec5752d9/2_Mark-Flores_Detail.jpg" data-mid="221996853" border="0"  src="https://freight.cargo.site/w/1000/i/a1583e11a492c7cd810c4147d52577a44f2ae186b76396b8dd1dbc4dec5752d9/2_Mark-Flores_Detail.jpg" /&#62;
&#60;img width="3956" height="2642" width_o="3956" height_o="2642" data-src="https://freight.cargo.site/t/original/i/8942c82f69c9b2f920f7fee1228714c4d7d77a95ac69aa364ec7bd8d1a0420b9/2_Mark-Flores2.jpg" data-mid="221996932" border="0"  src="https://freight.cargo.site/w/1000/i/8942c82f69c9b2f920f7fee1228714c4d7d77a95ac69aa364ec7bd8d1a0420b9/2_Mark-Flores2.jpg" /&#62;


Mark Flores


The Subterranean


Oil and Acrylic on canvas,
lights. 2024


Mark
Flores’ painting The Subterranean consists of a set of four unstretched
canvases arranged on top of one another in ascending scale and hanging freely
on the wall. The arrangement recalls ancient architectural motifs as well as
layered blocks of information common in digital interfaces. The intersection of
these ordered systems engages the various hierarchies and histories at play in
the making of the work. This articulation is highlighted by two freestanding
LED light stands that illuminate the painting and
function as an extension of the framing operation within the larger work. The
process recognizes the overlap of instinctive ritual and contemporary art
making practices with respect to the physical properties of the material:
gravity, viscosity, chroma, and gesture. The central figure is a point of
recognition. A pre-Columbian head ornament known as a hacha, the image depicts
what would be an adornment or field marker in the Mesoamerican bloodsport Ulama—a
game that is still played to this day in a modernized form.


@markfloresartist</description>
		
	</item>
		
		
	<item>
		<title>fields harrington</title>
				
		<link>https://godmodadoggerel.com/fields-harrington</link>

		<pubDate>Wed, 20 Nov 2024 22:45:53 +0000</pubDate>

		<dc:creator>godmodadoggerel.com</dc:creator>

		<guid isPermaLink="true">https://godmodadoggerel.com/fields-harrington</guid>

		<description>
&#60;img width="4184" height="2795" width_o="4184" height_o="2795" data-src="https://freight.cargo.site/t/original/i/54860cef37e4e5a9e2ba39e068ca65429c5685eeec4691730e2c58cb59ba97df/10_fields-harrington_Detail.jpg" data-mid="222266881" border="0"  src="https://freight.cargo.site/w/1000/i/54860cef37e4e5a9e2ba39e068ca65429c5685eeec4691730e2c58cb59ba97df/10_fields-harrington_Detail.jpg" /&#62;
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/39801c1e369995386c747f397b12d91a6889af35bb344a4b62df6a5dc1a749aa/10_fields-harrington.jpg" data-mid="222266883" border="0"  src="https://freight.cargo.site/w/1000/i/39801c1e369995386c747f397b12d91a6889af35bb344a4b62df6a5dc1a749aa/10_fields-harrington.jpg" /&#62;


fields harrington
Project ScientiaSingle channel video. 2019

Installed as a projection in GODMODADOGGEREL, harrington’s video
work poignantly balances DIY chemistry and physics experiments with meditations
on power using the words of Aimé Césaire, Frantz Fanon, Fred Moten and DJ
Screw, amongst others, creating an lucid if unsettling window into the hidden
forces that shape material histories.


 From the artist’s website
“harrington makes use of sculpture, photography, and drawing to reveal the
political dimensions between knowledge production, and the abstraction of
power.


Project Scientia aims to illustrate the genealogies of scientific
demonstrations as pedagogical tools, recuperation as relief, and the nexus
between poetics and science. The series of performances for the camera proposes
new models of inquiry into the alchemical affinities that could be created
between thinkers and makers. This is a proposition to generate new meanings
through the poetics of science.


@fieldsharrington.net
fieldsharrington.net/project


</description>
		
	</item>
		
		
	<item>
		<title>lucia  hinojosa gaxiola</title>
				
		<link>https://godmodadoggerel.com/lucia-hinojosa-gaxiola</link>

		<pubDate>Wed, 20 Nov 2024 22:46:07 +0000</pubDate>

		<dc:creator>godmodadoggerel.com</dc:creator>

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Lucía Hinojosa Gaxiola


Letters to Unknown Letters 


Mixed media and sound. 2023


Here in her
own words is a description of the multilayered sound installation Letters to Unknown Letters&#38;nbsp;


“Using the soles of my feet to scratch and draw the forms of
letters over different surfaces, I created an audio alphabet to ‘write’ with
friction and record the sounds of these gestures.


I created this sound sculpture by ‘writing’ my poem Letters to
Unknown Letters with my sound alphabet.


The poem is a letter to the future of language, speculating on how
letters might adapt to a new reality where our contemporary understanding of
(human) language no longer exists, leaving an indecipherable message scattered
on the planet.


This piece also draws upon other research sources, for example,
the Tibetan concept of "terma" or the encoded information written in
a non-human form and buried in the ground or in a rock, secreted in a herb or a
tree, hidden in the sky, in water or in dreams, and secret alphabets including especially
Hildegard von Bingen’s Lingua Ignota (Unknown Language), the oldest known
invented language created by a woman. 


 A copy of von Bingen’s Lingua Ignota is illuminated in a
light box in the installation of the work, alongside ten steel stands that hold
found objects.”
The poem Letters to Unkown Letters can be read here


Hinojosa Gaxiola’s book of poems The Telaraña
Circuit was published by Tender Buttons Press in Spring of 2024


 @tendtothemoon


@___lucia_____h


www.luciahinojosa.com/letters-to-unknown-letters


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