metro pcs in heaven

metro pcs

metro pcs has closed. This morning, our very last exhibition beamed into the vacuum of space.
We have asked all artists who have participated in the gallery to contribute an image and/or 100 words for our transmission.
The content below was sent to 4 separate sectors of space to ensure the widest possible coverage.

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metro pcs, an artist-run project space in Chinatown, Los Angeles
422 Ord Street, 2nd floor
Stairway entrance on Hill Street
Open Saturdays 12-6 pm, or by appointment
metro pcs,
http://metropcs.la/
chinatown.metropcs@gmail.com
323.388.5650 metro pcs
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CAAST
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ALIKA COOPER
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BERTRAND DEZOTEUX
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STAN DOUGLAS
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TRAVIS DIEHL
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<<
No tumor no cancer
Recovery Recovery begins at birth
 Recovery
There’s a hundred deaths out there, but a thousand inhibitions.
So move aside, citizen. Meet bag.
Recovery No for a No
Recovery The City Glows
Recovery That’s as far as you go.
Times for one last body scan.
Starting w/ your hair_______
Recoveryscreaming down your arms pelvis legs
                            RecoveryeryRecovery ^sternum feet toes toenails
DISTRACTED
              RecoveryRecoveryRec    Stopping with your skin.
crocs on a dog in the crosswalk
>>
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GENGHIS KHAN FABRICATION CO.
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ROCHELE GOMEZ
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It’s difficult to convey the value of artist­run spaces like metro pcs to the unknown beings that might receive this transmittal (let alone the difficulty in doing so to humans). metro pcs is dear to my heart because of the freedom it allowed Daniel Ingroff and I to produce the show we wanted. The sculpture I made for our show Out of the Elbows was a stained glass window that mimicked the pattern of the security gate surrounding the entrance of metro pcs. At the time, I had so many thoughts and feelings about making this sculpture it was hard for me to enjoy that I pulled it off. But as the dust settled, I felt good about our show­­the work in it, the warmth and generosity shown to me by Matt and Ian, and the trust that occurs between artists on such occasions.

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MEGHAN GORDON
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A toast for metro pcs (performance instructions), 2016

Fill a glass (with alcohol) and raise it

To a space for artists run by artists that may or may not become a pre-paid wireless service retail store, but will absolutely continue to live on forever and ever traveling in the vacuum of space.

Look around the room making eye contact with those around you

Here, here!

Drink the entire drink and place the empty glass on the ground and stomp on it once with vigor.

END.

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MERIDETH HILLBRAND
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‘Hot Dog 1 as seen through a veil quartz crystal’

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AMY HOWDEN-CHAPMAN
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Nostalgists / Our view

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JOHN HOUCK
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///////////

Horses at Midnight Without a Moon Jack Gilbert

Our heart wanders lost in the dark woods. Our dream wrestles in the castle of doubt. The summer mornings begin inch by inch while we sleep, and walk with us later

as long­legged beauty through
the dirty streets. It is no surprise
that danger and suffering surround us. What astonishes is the singing.
We know the horses are there in the dark meadow because we can smell them, can hear them breathing.
Our spirit persists like a man struggling through the frozen valley
who suddenly smells flowers
and realizes the snow is melting
out of sight on top of the mountain, knows that spring has begun.

///////////////

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WHITNEY HUBBS
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DANIEL INGROFF
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IAN JAMES
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ANDY KINCAID
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on the advise of a fellow traveler
now in search of the hand of zeus reaching down from the heavens we split from our worn valley trail
passing a small lake where we bathe
cleansing ourselves for the approaching visit
we follow a trickling stream sourced from the waters of the oracle up through precarious scree and dense brush
arriving
like to an arena for the battles of fate
yet there is no oak tree here
i strip bare and walk below the towering stands
but we descend from the stadium
years have since passed

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STEVE KADO & KEITH ROCKA KNITTEL
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1992 Toyota Corolla (BLACK) — TRANSMISSION
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TARRAH KRAJNAK
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NICK KRAMER
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THE QUICK BROWN FOX JUMPED OVER THE LAZY DOG AND WENT TO SLEEP FOREVER. When we crash our cars they don’t die. They go to sleep and wake up as another thing. The problem with immortality is not extending life it is extending continuity. Properly cultivated cells are immortal, but with no end at hand our cells grow weird and form endless tumors. We, as Humans, are only as different from Chimpanzees as Dogs are from Foxes. We were all something and then, as things do, went to sleep and woke up as something else. Similarity is by nature the same. Difference is less predictable. We humans are not as different from Dogs as Chimpanzees are from Foxes. A little bit of difference goes a long way. What wakes up is unpredictable; to know what went to sleep is impossible. A basket implies a basket maker. What does the basket maker imply? Ask her and she will sing songs and take you to the places where she gathers grass like her mother and grandmother but she will never mention baskets. Any mother would do the same. The presence of pattern is a pattern. We know these things exist without having to state or comprehend them. The Quick Brown Fox jumped Over the Lazy Dog and went to sleep forever only to wake up as something else. The Quick Brown Fox was in the world for a long time as a Quick Brown Fox but that whole time it was moving away from being a Quick Brown Fox and never knew it. It was a Young Brown Fox and then an Old Brown Fox and then it was a Sick Brown Fox. The Lazy Dog is so lazy it’s hard to tell if it is alive or dead. It doesn’t move toward anything, it does nothing and it counts on all the other things to prop it up! Of course, for all these things change is the only constant. Like everything they wake up for an instant to be named and then fall back asleep to dream until the next time they wake up.
-Nick Kramer 2013/2016

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EMILY JANE KUNTZ
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SETH LOWER
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HAILEY LOMAN
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JOSH MANNIS (in collaboration with Nick Kramer)
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ANNA MAYER
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A life’s work, recorded by a human with some memory loss.

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MEGHANN MCCRORY
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SIMONE MONTEMURNO
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1. Personal inventory
2. Show and tell
3. A gift
4. An invitation
5. Value, matter
6. Stardust
7. Or ashes
8. Sentimental objects 9. Exchange
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DEVON ODER
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With this multitude of willows, however, it was something far different, I felt. Some essence emanated from them that besieged the heart. A sense of awe awakened, true, but of awe touched somewhere by a vague terror. Their serried ranks, growing every- where darker about me as the shadows deepened, moving furiously yet softly in the wind, woke in me the curious and unwelcome suggestion that we had trespassed here upon the borders of an alien world, a world where we were intruders, a world where we were not wanted or invited to remain.
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MICHALA PALUDAN
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PAUL PESCADOR
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Constant hims or thems. Their value to you is in flux as you need something from each of them, merely a feeling of relief. Rarely did the relief come for more than a few moments, just a few seconds, when you are about to cum. You thank him. You get your shirt on. You step out the front door and feel a sense of freedom as you sit in your car. You realize you’re still on lunch break and you should have been back an hour ago. You look in the mirror, readjust your hair and drive back to work.
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ALI PROSCH
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MARK A. RODRIGUEZ
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RASMUS RØHLING
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So,

Supposedly, at some point in the initial stages of working on the door entrance ornamentation which he later titles The Gates of Hell, Rodin has agreed to do an interview with a British reporter, which is to take place atRodin’s studio. When the reporter arrives,Rodinis in the process of working on the figure placed in the center of the above door

panel, a male figure sitting on a rock with his chin resting on one hand.

As the reporter does not speak French, the interview is conducted in English, and some time into the interview, the interviewer asks Rodin a general question concerning Rodin’s view on the role of sculpture within these modern times of art.

Rodin, who is still working on the sitting male figure, supposedly immediately answers that “sculpture is the image of the finger” The reporter however apparently misinterprets Rodin’s broken English, ultimately leading to that the British newspaper the following day brings a big feature on Rodin with the headline: French sculptor Auguste Rodin is working on a new masterpiece: The Thinker. Subsequently however, and probably due to the much attention the article attracts, Rodin not only decides to embrace this retitling, but also separates the sculpture from its initial composition

of surrounding figures, hence treating it as an independent work, which he enlarges into a monumental size cast, slightly larger than human size.

What’s interesting is that this minor misinterpretation and the following fairly trivial marketing decisions around formatting, has had major consequences in our understanding of Rodin as one of the great modernist sculptors: First of all, due to fact that this icon, what could be called the incarnation of thinking, was originally never intended to depict such an ambitious and abstract phenomenon. This signification landed, so to speak, quite accidentally onto this crouching lump of mussels.

Secondly, the raw and unfinished rendering of the sculpture, which is often canonized as one of the founding points within modernist expressionism, is simply due to the fact thatRodin’sfingerswhen working on the original, just wasn’t able to sculpt in such great detail when working within a relatively small scale.

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GUAN RONG
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KATIE SHAPIRO
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MATT SIEGLE
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ASHA SCHECHTER
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LEROY STEVENS
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BRICA WILCOX
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