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Many ravers have a similar memory, a zeitgeist recollection of low-end pulsations traveling through space, concrete, and rock. Disorientating color lights, phase-shifting frequencies, and hallucinogens in the bloodstream are all familiar echoes. Yet, those memories are often accompanied by a persistent sense of aesthetic and even social fatigue. A gnawing sense that the scene was better before.
Entering the gallery and exhibition Edifice by Los Angeles-based artist Nick Angelo, one confronts a series of large images whose materiality touches the viewer at the subliminal smell of plastic vinyl. The smell fades over time, as it does with machine-produced printing whether on paper, canvas, or PVC sheeting – complementary to the transient musk of polyvinyl chloride (“vinyl”) records.
In Edifice, Angelo maps the relationships between libidinal cultural and subcultural formations and their feverish capture by finance capital and real estate. Inspired by...More
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Many ravers have a similar memory, a zeitgeist recollection of low-end pulsations traveling through space, concrete, and rock. Disorientating color lights, phase-shifting frequencies, and hallucinogens in the bloodstream are all familiar echoes. Yet, those memories are often accompanied by a persistent sense of aesthetic and even social fatigue. A gnawing sense that the scene was better before.
Entering the gallery and exhibition Edifice by Los Angeles-based artist Nick Angelo, one confronts a series of large images whose materiality touches the viewer at the subliminal smell of plastic vinyl. The smell fades over time, as it does with machine-produced printing whether on paper, canvas, or PVC sheeting – complementary to the transient musk of polyvinyl chloride (“vinyl”) records.
In Edifice, Angelo maps the relationships between libidinal cultural and subcultural formations and their feverish capture by finance capital and real estate. Inspired by...More
