Lack of Location Is My Location

Alexandra Bell, Aliza Nisenbaum, Andrea Geyer, Becca Albee, Dawit L. Petros, Eleana Antonaki, Kamrooz Aram, Lisa Corinne Davis, Nicole Miller, Torkwase Dyson, William Villalongo, Xaviera Simmons

November 3, 2017 – January 7, 2018 1329 Willoughby

Lack of Location Is My Location, installation view — Lack of Location Is My Location Installation view 2018

Andrea Geyer, Timefold from the notebooks of Gertrude Vanderbilt Whitney — Andrea Geye Timefold from the notebooks of Gertrude Vanderbilt Whitney 20185 Digital c-print, edition of 5 plus 2 artist's proofs 20 x 15 in. 50.8 x 38.1 cm.

Eleana Antonaki, Uncanny Gardening I — Eleana Antonaki Uncanny Gardening I 2016 Graphite, gesso, resin on wood panel 24 x 30 in. 61 x 76.2 cm.

Xaviera Simmons, Thundersnow Road — Xaviera Simmons Thundersnow Road 2010 Chromogenic color print 40 x 50 in. 101.6 x 127 cm.

Becca Albee Working in the Context of Violence: Radical Feminist Therapy 2017 BB, archival pigment print, artist’s frame, edition of 3 plus 2 artist's proofs 9 x 12 in. 22.9 x 30.5 cm.

Lack of Location Is My Location, installation entry — Lack of Location Is My Location Installation entry 2018

Press Release

Koenig & Clinton is pleased to announce the opening of Lack of Location Is My Location, an exhibition of works made by artists currently living, working, and teaching near the gallery, in Brooklyn.

The exhibition’s title borrows a line from a 1991 interview by critic Roberta Smith with artist Glenn Ligon. Referring to the disjuncture that Ligon witnessed and experienced during his daily school commute between two implicitly different worlds, the artist states: “lack of location is my location.” The words linger because they address a present condition.

Reconsidered in the context our current sociopolitical landscape, one might ask how this statement resonates with various forms of displacement, traversal, revision, and community building that are made manifest in artwork today?

For Becca Albee, Alexandra Bell, and William Villalongo cultural alienation begins with narrative. Identifying an apparatus becomes key to changing the conversation. Nicole Miller’s portrayals of those who have been lost offer a platform for the viewer to sit with those who have been left behind.

Whether by piecing together memories, or by keeping company in the present, Eleana Antonaki and Aliza Nisenbaum claim space for personal histories of migration. Meanwhile, body, site, and sign conjoin in the depictive compositions of both Dawit L. Petros and Xaviera Simmons.

As Andrea Geyer and Kamrooz Aram look back to the institutional frameworks of the 20th-century to identify how cultural stories have been shaped, Lisa Corinne Davis and Torkwase Dyson complicate certain foundational tenets of Modernity and Modernism. Looking into the future, American Artist proposes an imaginary for new subjectivities as-yet-to-be-occupied.