The GAR Gallery and courtyard is open to the public
Tuesday - Saturday from 11am - 4pm
Eric Heist & Genesis Breyer P-Orridge
The Galveston Artist Residency & Gallery is pleased to present Candy Factory, an exhibition featuring the collaborative work of Eric Heist and the late BREYER P-ORRIDGE. On display will be a selection of sequentially-ordered, vibrant, silkscreened gender-indeterminate details of bodies on square surfaces. It is the most comprehensive show to date.
Premiered at New York’s Team Gallery in the year 2000, the initial Candy Factory exhibition marked the first time that Genesis P-Orridge, the legendary artist/musician/provocateur had presented work in a commercial gallery. Her performance art troupe COUM Transmissions had already had their first retrospective at the ICA (London) as far back as 1976, but her work was mostly performance, mailart or music – all very hard to commodify.
The Candy Factory work was a partnership between P-Orridge and the artist Eric Heist. At the time, Heist was creating sugar-coated silkscreen paintings of body-related imagery. P-Orridge was making photographic images of non-gender-specific bodies. Heist was also running the non-profit organization Momenta Art, and both were interested in incorporating context through images that suggested the elision of wealth and poverty, transcending class by moving away from identity distinctions.
The result is Candy Factory: pop-infused images and bodies without sex, age, class or race, a symbol for the one as well as the multiple. The name for the project combines Candy Darling and Factory Records, an overlapping of art and music.
In 2018, P-Orridge — now known as BREYER P-ORRIDGE and embodying an ongoing collaboration with her better half, the late Lady Jaye — and Heist began working together again, concentrating on a set of Polaroid images taken in a ritualistic manner of an unidentified individual or individuals. Brighter, more pop, more abstract, these new works used a simple system. A set of thirty 22-inch square silkscreen on canvas panel works were derived from a Polaroid image of non-distinct nudity. A base color of the six primary and secondary colors (red, violet, blue, green, yellow, orange) was overlaid with the image using the five remaining colors in a sequence through the color wheel. In this manner, process art overlapped with performative ritual. Other sets of sequential color and the rotation of imagery continue suggestions of cyclical movement and continuity within the attraction of bodies to one another. The images and works in this installation all simultaneously exist independently and collectively.
In final text messages between Genesis and Heist, s/he texted in her unique manner: “Spending 5 Daze in the Horse Pistol – Butter Coum to the Nest” (spending five days in the hospital but come to my apartment afterwards). The continuity of Candy Factory – rotating, changing, moving from red to yellow to blue and back again – follows the continuity of existence itself, reassuring that death is not an end.
Along with displaying the Candy Factory works, The GAR gallery will also be screening BREYER P-ORRIDGE’s Pandrogeny Manifesto in the small gallery.
Eric Heist (b. 1962) is an artist who works in multiple media imaging the complexities of power, time and socio-political contradictions. Recent solo or two-person exhibitions include Kanal-Centre Pompidou (Brussels); Field Projects (New York); Galveston Artist Residency (Galveston, TX); Foundations, Schroeder Romero/Shredder (New York). His work has been included in exhibitions at Participant, Inc., Max Protetch, Ronald Feldman Fine Arts, White Columns, Roebling Hall, NY, Elizabeth Vallaix Gallery, Paris and the Brooklyn Museum of Art, amongst others. He is a founder and director of Momenta Art since 1986, a not-for-profit exhibition organization. His work has been reviewed by Holland Cotter and Roberta Smith of the New York Times, William Powhida in The Brooklyn Rail, and Christian Viveros-Fauné in Art in America, among others. He received a Pollock Krasner Award in 2020.
Genesis BREYER P-ORRIDGE (Manchester, England, 1950—2020) was a legendary singer-songwriter, musician, writer, occultist, cultural engineer, and visual artist. P-Orridge rose to notoriety as the founder of the COUM Transmissions art collective, which operated in Britain from 1969 to 1976. P-Orridge co-founded and fronted the pioneering industrial band Throbbing Gristle and the experimental multi-media outfit Psychic TV, paralleled by P-Orridge’s co-founding of the communal network Temple ov Psychick Youth. In 1993, P-Orridge and partner Lady Jaye embarked on the Pandrogeny Project, a living art concept that blended physical and psychological mediums testing gender constructs and creating the unified BREYER P-ORRIDGE. The archives of Genesis P-Orridge were acquired for the permanent collection of London’s Tate Britain in 2010. Institutional solo exhibitions include ICA, London; The Warhol Museum, Pittsburgh; Summerhall, Edinburgh; The Rubin Museum, New York; KANAL-Centre Pompidou, Brussels.
The GAR Gallery would also like to give our thanks to Benjamin Tischer of New Discretions for his help and support in putting this show together.
Candy Factory will have an opening reception in the GAR gallery on Saturday, November 26th beginning with a gallery talk with Eric Heist and Benjamin Tischer at 6pm.
The show will be on view from November 26th, 2022 – February 4th, 2023.
Travel in Light Years:
Artifacts & devices adapted to
traverse the precarious spectrum
Homofuturism and the superannuated
as an exile in a land
of glorious f/utility.
Part 1: August 27
Part 2: October 8
From August 27th to November 5th 2022, the gallery at the Galveston Artist Residency will be an evolving hub that intersects explorations of site, history and time with personal mythology and collective folklore informed by the Galveston region.
Listen, can you hear the distant calling?
Speeding on our way to something new —
Take a breath and take the plunge, my dear
Part 1 of Travel in Light Years will open on Saturday, August 27th and Part 2 will open on October 8th. There will additionally be other ongoing public programming in conjunction with this exhibition to be announced in coming weeks.
Travel in Light Years is partially supported by a grant from the Galveston Cultural Arts Commission, with gratitude.
J.R. Roykovich is a conceptual & research based artist, utilizing photography, video, drawing, performance and installation. The work explores locations to expose and document how the layers of history, mythology and psychic scars of a site can affect the phenomenological intersections of current physical, mental and emotional experiences within that place and time. These explorations result in large installations and mappings based off environmental recollection which serve as a nerve center to explore, document and connect various histories. Roykovich’s research explores the spatial exchanges between existing entities at those locations while documenting geo-spectral networked and system-based transferences.
Roykovich holds a MFA from Rutgers University, New Brunswick, as well as a BFA from George Mason University in Fairfax, Virginia. Roykovich has worked and shown throughout the United States, including the New York and Washington, D.C. greater areas, Minneapolis and now the Gulf Coast, starting with being a resident at the Galveston Artist Residency from 2017-2018. Roykovich has been an artist-in-residence at several additional national and international residencies, and has work in the collections of various private and public institutions.
3 going through 9 to get to 27
Curated by Zahar Vaks
Featuring works by
Bess Adler, David Bratton, Rubens Ghenov, Yoni Lotan,
Leeza Meksin, Rose Nestler, Nickola Pottinger, Walter Price,
Ralph Pugay, Zahar Vaks, Rachel Eulena Williams, and Sun You.
You know 3 has to go through 9 to get to 27
- Frank Bramblett
- Frank Bramblett
3 going through 9 to get to 27 explores the way someone can be rooted in a discipline and still branch out to incorporate other ways of thinking and making. The show is about the multitude of influences that artists can let in, the moments that artists simultaneously become curators.
Spending time at GAR is when I started developing my curatorial instincts. I was not conscious of it yet, but the work began taking on different forms. Everything was still rooted in painting, but now physically spilling out into the space, creating an island. It is no coincidence that fragile island ecology became a big part of the work, on a subconscious level, until the link was brought up by a writer and later by my peers. The artists included in the show are all rooted in their disciplines. There is a specificity to their practice, and yet the breath of their material narratives are vast, at times spilling out into different practices and ways of perceiving their work.
- Zahar Vaks