Cabinet magazine, Queens Museum of Art, and White Columns present
"ODD LOTS: REVISITING GORDON MATTA-CLARK’S FAKE ESTATES"
a two-venue exhibition that examines Matta-Clark’s complex and provocative project through his original materials, a series of guided tours, and newly commissioned works.
Artists and tour guides include Francis Alÿs, Jimbo Blachly, Isidro Blasco, Michael Crewdson, Jaime Davidovich, Mark Dion, Maximilian Goldfarb, Valerie Hegarty, Julia Mandle, Helen Mirra, Margaret Mittelbach, Matthew Northridge, Dennis Oppenheim, Sarah Oppenheimer, Dan Price, Lisa Sigal, Katrin Sigurdardottir, Lytle Shaw, Jane South, Jude Tallichet, Nato Thompson, Mierle Laderman Ukeles, and Clara Williams
White Columns: September 9, 2005 – October 15, 2005
(reception is on September 9, 7-9 pm)
Queens Museum of Art: September 11, 2005 – January 22, 2005
(reception is on September 17, 1-6 pm)
"Odd Lots: Revisiting Gordon Matta-Clark’s Fake Estates" examines the legacy of Gordon Matta-Clark (1943-1978) through the history of his important project Fake Estates (1973-4). With 19 participating artists ranging from Matta-Clark’s contemporaries to emerging practitioners, "Odd Lots" seeks to activate the legacy of an “artist’s artist” whose dovetailing interests in architecture, sculpture, and performance have inspired creative producers in a variety of disciplines. "Odd Lots" de-emphasizes the image of Matta-Clark as a chainsaw-wielding urban land artist obsessed with the “object to be destroyed.” Instead, the exhibition underscores aspects of his work that investigate dematerialization, use value, and systems of social organization. The exhibition, with elements at White Columns and Queens Museum of Art, was conceived and curated by Cabinet editors Jeffrey Kastner, Sina Najafi, and Frances Richard.
Gordon Matta-Clark and Fake Estates
In the early 1970s, Matta-Clark discovered that the City of New York periodically auctioned off “gutterspace”—unusably small slivers of land sliced from the city grid through anomalies in surveying, zoning, and public-works expansion. He purchased fifteen of these lots, fourteen in Queens and one in Staten Island. Over the next years, he collected the maps, deeds, and other bureaucratic documentation attached to the slivers; photographed, spoke, and wrote about them; and considered using them as sites for his unique brand of “anarchitectural” intervention into urban space. Matta-Clark died in 1978 at the age of 35 without realizing his plans for Fake Estates, and ownership of the properties reverted to the city. The archival material that he had assembled went into storage and was not rediscovered until the early 1990s, when it was assembled into exhibitable collages. Thus,Fake Estates has emerged not only as a mordant commentary on issues surrounding property, materiality, and disappearance that marked the whole of Matta-Clark’s career, but as artifacts of his own estate, reminders of the powers of absence and presence that govern our relationship to the past.
Odd Lots: Revisiting Gordon Matta-Clark’s Fake Estates
"Odd Lots" is organized in two parts. The contemporary portion of the show invites nineteen artists to present speculative projects responding to the provocation of the interstitial “gutterspaces.” Working in a variety of media, the participating artists consider the ways in which the Fake Estates sites and Matta-Clark’s purchase of them might be used as contexts—literal or metaphorical—for new sculpture, drawing, photography, performance, and installation. The City of New York no longer auctions “curb properties,” but Cabinet has obtained licenses for the ten original slivers still on the city’s books. Taking this nominal jurisdiction as a starting-point, the artists propose fantasy excavations, fleeting performances, interactions with the neighbors, and spatial or atmospheric re-imaginings of the land as site, symbol, and situation. Including projects originally created for the “Property” issue of Cabinet magazine in 2003, "Odd Lots" will present commissioned works installed in the galleries of White Columns, an alternative art venue founded as 112 Greene Street in 1970 by Jeffrey Lew and Gordon Matta-Clark.
The historical component of "Odd Lots," at the Queens Museum of Art, will utilize the 9,335 square-foot Panorama of the City of New York to examine the history of Matta-Clark’s project and the bureaucratic origins of the property slivers. The Fake Estates sites will be marked on the Panorama, while multimedia documentation will trace the origins of the slivers themselves by revealing the ways in which administrative procedures in Queens County produced these idiosyncratic spaces. A selection of Matta-Clark’s Fake Estates collages will also be on display. In addition, on view at both venues will be a recently rediscovered film, shot in 1975 by video artist and cable television pioneer Jaime Davidovich, documenting a visit to the Queens sites by Gordon Matta-Clark.
In addition to the artists’ projects at White Columns and the installation of archival material and Matta-Clark’s original documents at the New York City Panorama at the Queens Museum, "Odd Lots" offers a series of bus tours to selected Fake Estates sites in Queens. Acknowledging that the land itself is not identical to the cultural devices that frame it—such as maps, deeds, and leases, or even artworks—the bus tours will bring viewers face to face with the magnificently mundane slivers themselves. Each tour will be guided by a special guest tour-guide or team of guides, and will last approximately 2 hours. The tours, which are free, depart from the main doors of the Queens Museum at 2 pm.
September 17: Jaime Davidovich, video artist and friend of Gordon Matta-Clark, will take the group to some of the sites that they visited in 1975 while Matta-Clark was developing the project. There will be an on-site performance by Julia Mandle in which using costume and action, performers will mark the space of two linked microplots.
October 1: Jimbo Blachly, Lytle Shaw, and the Chadwicks—two nineteenth-century dandies—lead a Grand Tour of Matta-Clark’s Queens.
October 15: Mark Dion, Michael Crewdson, and Margaret Mittelbach lead "The Magical Misery Tour: A Natural History of Queens"
October 22: Nato Thompson leads a tour of the tactical resistance of everyday life. From ebullient window displays to Maoist bakeries to cars parked in the wrong direction, this tour provides a glimpse into the cartography of resistance that surrounds our lived experience.
Please note: Space is limited and spots should be reserved in advance by calling 718.592.9700 x128 or emailing firstname.lastname@example.org.
Odd Lots will also be accompanied by a catalogue, edited by the curators and distributed worldwide by D.A.P. This book, which will present the most complete history of Fake Estates to date, features new interviews with Matta-Clark’s contemporaries who remember the genesis of the project, as well as with curators and others who have worked with his estate to assemble the material. Through such primary research, the catalogue traces the evolution of the work and considers the questions of authenticity and intentionality that circulate around Fake Estates. An essay by co-curator Frances Richard places Matta-Clark’s project in the context of his career, while New York City historian Jeffrey A. Kroessler contributes an essay situating Matta-Clark and Fake Estates in the context of SoHo and Queens during the notorious fiscal crisis of the early 1970s.
Odd Lots is sponsored by generous grants from the National Endowment for the Arts and Altria Group, Inc.
SCHEMATIC DRAWING OF ALL 15 LOTS (TO SCALE)
AERIAL MAPS OF QUEENS AND STATEN ISLAND SHOWING LOT LOCATIONS
Cabinet is published by Immaterial Incorporated, a non-profit 501(c)(3) organization. Cabinet receives generous support from the Lambent Foundation, the Orphiflamme Foundation, the Andy Warhol Foundation for the Visual Arts, the Opaline Fund, the New York City Department of Cultural Affairs, the National Endowment for the Arts, the New York State Council on the Arts, the Danielson Foundation, the Katchadourian Family Foundation, the Edward C. Wilson and Hesu Coue Wilson Family Fund, and many individuals. All our events are free, the entire content of our many sold-out issues are on our site for free, and we offer our magazine and books at prices that are considerably below cost. Please consider supporting our work by making a tax-deductible donation by visiting here