LAB:D - November 2 - 30, 2018
Jenny Gagalka, Camel Race 1, 2018, flashe paint and window tint film on plexiglas, steel frame, cables, 48 x 96 inches
August 3 – September 8, 2018
Good Weather at Monaco, presenting racecar, a solo exhibition by Jenny Gagalka at Monaco from Aug 3–Sep 8, 2018.
friendsh.jp presenting Loss Shopper with Jenny Gagalka, Beaux Mendes, and William Wasserman within the walls of Good Weather's exhibition at Monaco from Aug 3–Sep 8, 2018.
Good Weather is excited to present Jenny Gagalka’s second solo exhibition with the gallery at Monaco in St. Louis. racecar is a palindrome built around the title of Gagalka’s first show with the gallery—E—a letter that acts as a stand-in for everything: the constant rhythm of everyday, the earth turning ’round the sun, and the eternal cycle that we embrace and ostensibly race.
Within the walls of the space, the curatorial project friendsh.jp will present a concurrent show titled Loss Shopper by Gagalka’s collaborative drawing project with Los Angeles-based artists Beaux Mendes and William Wasserman. The exhibitions open Aug 3, 2018 and are on view until Sep 8, 2018.
In racecar, the space is anchored by a suite of five double-sided paintings of camels that run parallel and equidistant to one other. The installation produces a stereoscopic effect: a camel race. The painted surfaces combine flashe paint and window tint film on plexiglas. At once see-through and reflective, the paintings work to disrupt, conjoin, and confuse one another. As they have no front or back, both sides exist simultaneously.
The paintings move rapidly from cool to hot, from order to disorder, from representation to abstraction—as a body, they contain a range of extreme states. The camels in the paintings and the paintings themselves are extremophiles—organisms that thrive in physically drastic conditions that are detrimental to most life on earth. The motifs recall a place somewhere else, hot for sure, from ancient times, present, or far far future. The synthetic event seems horrific, an impossible fantasy, or a futuristic event set in the scene of the ancient.
The race is happening right now and yet it is unknown who is in the lead and who lags. The beginning and end are not fixed. Together they form a caravan moving to the left in unison if approached at one end, and concurrently migrating to the right if one maneuvers in the other direction. As viewers, we move around and between these rushing camels.
Camel racing nowadays consists of a robotic jockey saddled between the humps of a hopeful camel. Unlike a horse race track, this track is not circular, instead it runs a straight line next to another lane where SUVs drive along side carrying a passenger with remote control in hand to signal a small whip. This image of a camel stepping on its own foot is sourced from a mural at the Al-Wathba racetrack. It has an ancient look yet is only a decade old.
In the other room, looking in on the race, is a madding crowd: pastel drawings on paper. They appear to be portraits of specific people and landscapes containing otherworldly monuments. The work was made by Beaux Mendes, William Wasserman, and Jenny Gagalka.
Each image of departure calls for a different trajectory of representation, and this is why things look different (and call for different materials, supports, scale, interaction of color, involvement or removal of hand). It is because they behave differently when looked at through the lense of time and space tethered to a specific place that has been removed. To work from observation is a specific choice—an attempt of self-removal and deflection from an authoritarian voice. These paintings depend on the viewer to be able to discern the difference between looking for something and looking at something.
The point of departure is simply that. The beginning. An example. The departure is specific, but the end is unbounded. It is a node from which repetitive imagery echoes beyond the closed system that created it in the first place. This echo is presented now, here, corralled into the installation and viewed simultaneously: a new system that, because it can be observed through time and space, gives birth to a new simulated subject. Now another round of observation can begin. The work fluctuates between different modes of observation under the quantum lens that things in fact behave differently when looked at. The constant is observation, but the subjects are variable. It can be anything but it cannot be everything.
Jenny Gagalka (b. 1984 Vancouver, British Columbia) lives in Los Angeles, California. She recently graduated from the MFA program at UCLA in Painting & Drawing and is currently a participant at the Skowhegan School of Painting and Sculpture.
Beaux Mendes (b. 1987 New York City, New York) received a BA from Wesleyan University in Intellectual History in 2010 and is currently an MFA candidate in Painting at the University of California, Los Angeles. In 2014, they founded Treasure Town, an exhibition platform and the location of the archives of Nathaniel Green.
William Wasserman (b. 1990 Vanderburgh, Indiana) received a BFA in 2013 from Hunter College of the City University of New York. He is currently an MFA candidate in Painting at the University of California, Los Angeles. His writing from June to July of 2004 can be found online at: www.deviantart.com/nestingnaira
On view June 29 – July 27, 2018
Opening reception: Friday, June 29, from 7-10pm
“And life? Life itself? Was it perhaps only an infection, a sickening of matter? Was that which one might call the original procreation of matter only a disease, a growth produced by morbid stimulation of the immaterial?”
—Thomas Mann, The Magic Mountain(1924)
St. Louis, MO — Monaco is pleased to present, Animal Fancy, a solo exhibition by Cole Lu.
Cole Lu presents six new works that reformulate folkloric tales and myths of monstrosity, and assert an alternative exile from a queer, autobiographical perspective.
In Western folklore, the monster has often been used to delineate social acceptability. As a result, they have become estranged, dispossessed, misunderstood, and feared – eternally othered. Lu adopts the Beast’s form in her work, both empathizing and identifying with its plight. Confronting her own experiences of destabilization and alienation in her series of bas-relief, Lu sees the body as a home for language, where it lives under the skin in several forms. The reliefs are carefully sculpted and cast into silicone, concrete, metal, aqua resin, fiberglass, and flock. The cast concrete Beast’s head is amputated and illusionistically submerged into the floor. Applied morphology in a visual grammatical sense, like a house breaking into flesh, Lu employs the labor of materials as language—producing, creating, and interpreting them to weld together a consolidated form. Collectively, the work is speculative, and at times satirical, while upholding the popular and conceited Western gaze that summons its operators. It folds an interior space where a fiction lies in the narrative of queerness, illness, and seclusion.
Cole Lu (b. Taipei) is an artist, curator, and writer based in New York. She was the former assistant director of fort gondo compound for the arts in St. Louis (May 2014- Jan 2017). Her work has been exhibited at the Contemporary Art Museum and Pulitzer Arts Foundation (St. Louis), the Institute of Contemporary Art and Vox Populi (Philadelphia), The Wrong Biennale(URL & São Paulo), LACE (Los Angeles), I Never Read (Basel), FILE (São Paulo), K-Gold Temporary Gallery (Lesvos), and Trestle Projects (Brooklyn). Her publication Smells Like Content (Endless Editions) is in the artists’ book collection of the MoMA Library (New York). Her recent two-person exhibition “While Removing the Garbage or Paying the Cleaner” opens at American Medium (New York) in May 2018, and her writing will be featured in the CODETTE JOURNAL #3 (June 2018).
After Yesterday Before Tomorrow
On view May 18 - June 15, 2018
Opening reception: Friday, May 18, from 7-10pm
St. Louis, MO — Monaco is pleased to present, After Yesterday Before Tomorrow, a solo exhibition by St. Louis-based artist Gregg Louis.
The exhibition features drawings, paintings, sculptures, and video from two distinct bodies of work produced nearly ten years apart. Louis’ interdisciplinary practice crosses concepts of perception, chance, gesture, and play, often abstracting classic subject matters such as portraiture, landscape, and language.
The exhibition’s title, After Yesterday Before Tomorrow is derived from a text drawing made in 2008, in which the artist engaged a group of nine participants in the childhood game, ‘Telephone’, beginning with a statement about the progression of time. As the statement is shared and transcribed from one participant to the next, it falls in and out of logic, suggesting the artist’s acceptance of distortion and spontaneity in his work.
His interest in ideas such as distortion, fluidity, and chance again found their way into his most recent work from 2018. Using the blind contour drawing technique, Louis generates drawings while gazing on different subjects such as portraits, landscapes, and everyday objects. These ‘blind’ sketches become the architectural plan for paintings and sculptural mobiles in the exhibition.
Conceptually, the two bodies of work resonate similar themes and ideas. The progression of time shows a marked evolution of Louis's use of color and materials to include vibrant hues and non-traditional use of materials - presenting a similar playfulness and openness in the work.
Born in St. Louis, where he currently lives and works, Louis received his BFA in Painting from Missouri State University in 2006 and his MFA from the School of Visual Arts in New York City in 2009. He has had solo exhibitions and projects at Nohra Haime Gallery, New York; Hverfisgalleri, Reykjavik; HMK, Hoorn Netherlands (collaborative project). He has also participated in group exhibitions in the United States and abroad at Frieze, London; Vienna Contemporary, Vienna; ArtBo, Bogata; Nohra Haime Gallery, New York; Postmaster Gallery, New York; Galerist, Istanbul; Here Art Center, New York; Interstate Projects, Brooklyn; and Los Caminos, Saint Louis. In 2009, Louis was an artist-in-residence at the Skowhegan School of Painting and Sculpture. The New York Times, The Wall St Journal, Sculpture Magazine, and several other prominent online blogs and journals have covered his work. Nohra Haime Gallery in New York currently represents Louis's work.
bodybodymoreless (origins), April 6 – April 28, 2018
Monaco is pleased to present bodybodymoreless (origins), a group show featuring artists Duda Bebek, Caroline Carlsmith, Dirt (Amy Grant and Gary Webb), Addoley Dzedge, M (Abbe Findley and Brook Hsu) Ashley Wick, and Nicole Wilson, along with an architectural intervention designed by Jan Ulmer. This exhibition is curated by St. Louis-based artist Amanda Bowles.
Bringing together disparate approaches, bodybodymoreless (origins) highlights artists that explore a relationship to time through touch and memory. Works investigate interpersonal bonds, relations with oneself and others. They utilize voice, think about legacy; they look forward and back. Wholes, parts of wholes, holes – cycles, tracings, and recollections seeking to find ways towards something called home.
Duda Bebek (1983 Gothenburg, Sweden) lives and works in Stockholm, Sweden. She received her BFA and MFA at Valand School of Fine Arts. Bebek has exhibited internationally with selected solo and group shows at at Nevven Gallery (Gothenburg), Steinsland Berliner (Stockholm), Gillmeier Rech (Berlin), HFBK (Hamburg), Zero LA (Los Angeles), Den nordiske ambassade (Copenhagen), Büro Weltausstellung (Wien).
Caroline Carlsmith is an American visual artist and writer currently living and working in New York City. She completed her BFA in Studio Art and BA in Visual Critical Studies at the School of the Art Institute of Chicago in 2009, and her MFA in Art Theory & Practice at Northwestern University in 2014. Carlsmith has exhibited her work domestically and internationally, including at The Hills Aesthetic Center, the Mary and Leigh Block Museum of Art, and Flux Factory, and has been artist in residence at the Vermont Studio Center, ACRE, SÍM Reykjavic, and Residency 108. She has been the recipient of numerous grants, including the CAAP Grant from the Chicago Department of Cultural Affairs and the Center for Interdisciplinary Research in the Arts Grant from Northwestern University, and is also a founding board member of the interdisciplinary residency program Summer Forum for Inquiry + Exchange.
DIRT - A collaboration between artists Amy Granat and G. William Webb.
Addoley Dzegede is a Ghanaian-American interdisciplinary artist whose work investigates notions of belonging, migration and location, and hybrid identities. Through a variety of media and techniques, she explores the metaphoric potential of materials, familial histories, textile traditions, and the ways in which color and pattern are used to as a means to assign belonging.
Dzegede received her MFA from the Sam Fox School of Design & Visual Art at Washington University in St. Louis. She has been an artist-in-residence at the Arteles Creative Center, Foundation Obras, Nes Artist Residency, and The University of Kansas, as well as a post-graduate apprentice at the Fabric Workshop and Museum in Philadelphia.
Recent regional and national exhibitions include Overview is a Place, SPRING/BREAK Art Show, New York, Another Country, 50/50, Kansas City, Color Key, Contemporary Art Museum St Louis, and Surface Forms, The Fabric Workshop & Museum, Philadelphia. International exhibitions and screenings include The Labs @ Chale Wote, W.E.B. Du Bois Memorial Centre for Pan-African Culture, Accra, Ecology without Borders .01, [.BOX] Videoart Project Space, Milan), and In Deep Ecology, Tenerife Espacio de las Artes, Tenerife. Recent awards include the 2018 Great Rivers Biennial award and a Creative Stimulus Award from Critical Mass for the Visual Arts.
M - One thousand years into the future, two women with two wigs in the shade of curcuma (turmeric), send a message to present day Earth. M, a name derived from the Roman numeral for 1000, is the life project of Abbe Findley and Brook Hsu.
Ashley Wick (Born 1987, Nebraska), explores the connection between love, longing, natural phenomena, fear, and human impact on the natural world. In Wick’s animations and sculptures, she brings to life and anthropomorphizes disembodied body parts, animals, and insects to tell her stories through song and wordplay. Wick applies a poetic and often metaphorical language in her painted animations and sculptures, using rhythmic verse and loops to gain new meaning with each cycle. Wick received her Master of Fine Arts from The Pennsylvania Academy of the Fine Arts School, Bachelors from the Kansas City Art Institute, and spent a summer at The New York Studio School. She has exhibited internationally in Paris, France, throughout New York City and Philadelphia is venues such as NADA New York, SPRING/BREAK Art Show, Bull & Ram Gallery, Fleisher Ollman, Marginal Utility, The Woodmere Art Museum, and The Pennsylvania Academy of the Fine Arts Museum and in Auburn, Alabama at Auburn University’s Biggins Gallery. Wick recently completed an artist residency at Galerie Charlot in Paris France, was a recipient of the Fleisher Wind Challenge, Linda Lee Alter Award for Painting, an Emerging artist grantee from the John Anson Kittredge Fund, and was invited to participate in the inaugural Sedona Summer Colony Artist Residency. Ashley currently lives in Philadelphia, Pennsylvania and Nome, Alaska.
Nicole Wilson lives and works in Queens, NY. She received her MFA from Northwestern University in 2014 and her BFA from Tyler School of Art in 2010. She currently teaches as an adjunct professor at Tyler School of Art. Last year, she completed a project called Ötzi at Three Kings Tattoo in Brooklyn, NY, with publication forthcoming. Her most current project, Perfidia, is a multi-year project that engages losses in familial memory, ancestry, Americana, and ethnicity by retelling stories through objects left behind. Wilson’s work is largely based on an un-telling of the stories held within objects. Through long process-driven unconventionally-exhibited projects, she uses conceptual conceits and sculptural objects to articulate and own absence and empty space.
Alongside site-specific projects in New York, NY and Los Angeles, CA, her work has been exhibited at Crane Arts (Philadelphia, PA), MAAS Space (Philadelphia, PA), OPEN Gallery (Nashville, TN), Habersham Mills (Habersham, GA), and The Block Museum (Evanston, IL). She is an honorable mention of the Efroyomson Contemporary Arts Fellowship and was awarded the Fleisher Art Memorial Wind Challenge.
Jan Ulmer founded the Berlin- based studio Jan Ulmer Architects in 2007. The studio implements projects that range in scale from public buildings in urban contexts to furniture design. The firm has realized several significant stand-alone residential commissions, exhibition designs and building conversions. Current works include a large-scale exhibition in Strasbourg, single family houses in Germany and Switzerland and prefabricated modular housing units (in collaboration with artist Simon Dybbroe Moller).
After studying at ETH Zurich and University of the Arts Berlin, Jan Ulmer earned his masters in architecture in 2001. Ulmer worked as a project architect at Kuehn Malvezzi from 2002-2007. There he directed projects such as the Friedrich Flick Collection Berlin and the Julia Stoschek Collection Dusseldorf, which was nominated for the international Mies van der Rohe Award.
Amanda Bowles is an interdisciplinary artist based in St. Louis. She completed her MFA in Art Theory & Practice from Northwestern University and BFA in Painting from the Kansas City Art Institute. Her work experiments with temporality, utilizing material-specific processes to express a yearning for deep-time in an age of no-time. Employing everyday rituals, she constructs artifacts that visualize duration, loosely coalescent aggregates in video, sculpture, performance, installation, and text.
Interested in observing ways relationships between self and other are evolving, as temporal experience is reframed by digital technologies and publics are rearranged into networks – Bowles works between the on and offline. Her practice demarcates the studio as a site for transformation and transmission, for production and performance.
As Blue is to Distance, March 2 – 23, 2018
Riverfront Times. For Artist Meghan Grubb, Her Joint Show at Monaco Is About Longing by Paul Friswold, Feb 27 2018
In As Blue is to Distance artists Meghan Grubb and Rachael Starbuck build parallels between landscape and longing. The artists create physically immersive spaces with sculpture, installation, and video works that focus on water, in particular, as a metaphor for constant transformation.
Grubb and Starbuck collect form and content from a range of sources including tropical plants, newspaper clippings, political maps, and wave dynamics. Processing and manipulating these points of origin, the resulting works overlap on themes of intimacy, consumption, nature and politics. Borrowing its title from Rebecca Solnit’s essay, “The Distance of Blue,” the exhibition explores states of flux, balancing the immersive with the dissociative, the abstract with the concrete, and the grounded with the unmoored. With a focus on intermediary spaces between people, landscapes, and objects, the artists visualize places of volatility and vulnerability that lie beyond physical reach.
This exhibition is curated by Saint Louis-based writer and curator, Stephanie Weissberg.
Meghan Grubb (b. 1982, Normal, IL) is currently living and working in Saint Louis, MO. Grubb received her MFA Art + Design from the University of Michigan in 2012, and her BA History + Studio Art from Wellesley College in 2005. Meghan Grubb's exhibition record includes group and solo shows, collaborations, and site-specific installations. Her work has been exhibited internationally in Norway, Finland, Spain, and Thailand, and nationally at the Sculpture Center (Cleveland, OH), the Shoshana Wayne Gallery (Los Angeles), Heaven Gallery (Chicago), and the Urban Institute for Contemporary Art (Grand Rapids, MI). She has received numerous awards and grants, including the American Scandinavian Foundation Fellowship (2012-2013), Regional Arts Commission Artists Fellowship (2015), Creative Stimulus Award (2015), Alice Cole Award (2015), recent nominations for the Joan Mitchell Foundation Painters and Sculptors Grant (2014) and Joan Mitchell Foundation Emerging Artist Grant (2015 and 2016), and Regional Arts Commission Support Grants (2015 and 2018).
Rachael Starbuck (b. 1988, Miami, FL) is currently living and working in Austin, TX. Starbuck received her MFA in Studio Art from the University of Texas at Austin in 2017 and her BFA in Sculpture + Extended Media from Virginia Commonwealth University in 2011. She has been a resident at ACRE Projects, The Contemporary Artists Center at Woodside, The Wassaic Project and The Vermont Studio Center and has shown work in Richmond, VA, Providence, RI, Chicago, Austin, Houston, New York and London.
Mala Noche, January 19 - Febuary 9, 2018
St. Louis, MO — Monaco, an artist-owned cooperative gallery located at 2701 Cherokee Street, will debut a new body of work by one of its founding members, José Guadalupe Garza, titled Mala Noche on Friday January 19, 2018.
Mala Noch examines the visibility and invisibility of the Latin/a/o/x experience in the United States -- its tensions, contradictions and complexities. Images of celebrities, “Mexican” food, album covers and cleaning products are abstracted, blurred and arranged mise-en-scène to demonstrate ways in which the body politic and mainstream media villainize, marginalize and idealize our collective and individual histories and culture.
Mala Noche takes its title from the 1985 film by Gus Van Sant and the fictional drug cartel that appears in the American television show, CSI: Miami.
José Guadalupe Garza is an interdisciplinary artist, educator, and curator. His studio practice utilizes cinema and popular culture as conceptual frameworks to examine ways in which histories are continually constructed and reconstructed. Cinematic and historical events are conflated to create anachronistic narratives and spaces, in which viewers are confronted with issues of identity, representation, desire, violence, sexuality and consent.
December 1 - 30, 2017
Riverfront Times. Grand Prix by Paul Friswold, Dec 2017
St. Louis Magazine. Check out Monaco, Cherokee Street's newest gallery by Melissa Meinzer, Dec 6
St. Louis Public Radio. Monaco gallery in St. Louis will use co-op spirit to connect artists with commercial market by Willis Arnold, Nov3
Alive Magazine. Monaco: St. Louis’ Upcoming Artist-Owned Gallery on Cherokee Street by Lena Crown, Oct 11
St. Louis, MO — Monaco, a new artist-owned cooperative gallery located on Cherokee Street, will launch with a grand opening exhibition, Grand Prix, on Friday, December 1, from 7:00 – 10:00pm. Grand Prix, an exhibition featuring Monaco’s 12 founding members, will highlight a breadth of media and conceptual concerns, and point to future programming that will be steered by exhibiting artists.
Like the prestigious Grand Prix motor race held annually in the city-state Monaco, Grand Prix navigates complex terrain – here the landscape is comprised of contemporary approaches in art and design. Angle, curve, swerve – color, form, line and shape, introduce the Monaco collective community. Exhibiting artists include Amanda Bowles, Bruce Burton, Sage Dawson, Kristin Fleischmann Brewer, José Garza, Meghan Grubb, LAB:D (Lyndon Barrois Jr. + Addoley Dzegede), Allison Lacher, Gregg Louis, Cole Lu, Tim Portlock, and US English.