Installation view of Where the Hours Go at Gattopardo, Los Angeles. With Margarethe Drexel and Gabriel Cohen. July 23rd - August 27th, 2022.
Press Release:
Zeno’s paradox of motion, which makes it seem as if distance can never be crossed, is of course an illusion that is reliant on the idea of a fixed instant in time. There are no fixed moments as we move through space and time. They are a fiction that can be captured, but are not real. Time is relentless. So we say. Similarly, progress often feels as if there is a goal inevitably being worked towards: a vaporous target conjured through aspirational mythmaking that we glide to, a perception that may supersede the imperative to remedy the lived now. Things have got to improve, it is inevitable. But the seduction of teleology and the paradox of motion dance to the same song, see the same mirages, not unlike this present moment that has been so stubbornly extended. Regressive legislation over body and identity even makes it seem like the clock is ticking backwards.
But moving through time amidst the ever dividing and subdividing setbacks, crises, and metamorphosing idealisms is the wandering window through which the present moment is framed, casting aside the hours shorn by its unpolished edges. Now as always, the curative remedies, structures, and myths that served their moments are left behind as residue and imprints of the hours that have fled….
…Kyle Jorgensen’s six framed drawings capture the stick forts that popped up in the early days of this moment, which he found on frequent strolls through NYC’s Riverside Park during the fall of 2020. Bold, high contrast marker drawings like Found Construction 1, 2, and 3 convey a record of reality that is somehow passively lived but manically devoured. Like the structures they depict, there is a devotional energy captured in what may seem like Zeno’s fictitious instant in time, but is in truth a flurry of activity functioning at supernatural timescales. The hand that drew them compresses months in a moment like a plein air sketch of a heartbeat. The 16 panel alphanumeric icon that appears elsewhere like in Bloods Lake is what Jorgensen sees as a sort of zero iconography with potential as “a signifier of both nothing and everything.”
- Reuben Merringer
Install view of three person exhibition Where the Hours Go, with Margarethe Drexel (center) and Gabriel Cohen (right).