A sequel and new work by Colin Klockner
Curated by Meredith Sellers
June 28 - July 28
In the Winter of 2017, artist Colin Klockner started a gallery named Ghost. Ghost was a structurally compromised, dilapidated barn with a crack running through the foundation. Parts of the walls were rotting or missing entirely, and the space had no running water or electricity. It existed in a rural corner of southeast Connecticut and over the course of three exhibitions it never had any visitors. Instead, Ghost’s exhibitions were seen - by everyone except Klockner - online only, through a webpage built by the artist. The nondisclosure of a physical location and the barn’s specificity of place furthered the notion of the web as the native viewing ground for (web) site-specific work as it solely occupied a virtual, rather than physical, space for its viewers.
Ghost’s first show, Edith’s Ghost, was an exhibition of Klockner’s own work. The exhibition ruminated on the idea of the memory palace, a mnemonic device first developed by the ancient Greeks and Romans, wherein one can use the memory of a specific architectural space to embed information to be memorized. Drawing parallels between this ancient technology of virtual place-building and the virtual space of the internet, Edith’s Ghost used a series of sculptures and images to further extrapolate ideas about space, memory, and narrative. Even its web address, ghostfeaturefilm.com, (a reference to the 1990 film Ghost) wryly pointed to the artifice of image-making and directed to a muddled video walkthrough of the space, lit only by Klockner’s cell phone as wind howled and snow fell outside. In this context, the failing, barely structural barn itself becomes a metaphor for the failures of our own projected self-image and the structured binaries of our physical selves. Marking a bodily transformation, the titular Edith, wife of Lot in the biblical tale of Sodom and Gomorrah, is transformed in Klockner’s approximation into a stacked column of equestrian salt licks.
In Klockner’s re-presentation at Esther Klein Gallery, Edith, the virtual has been transmuted back into the physical, seen now in the context of EKG’s own space in the transient non-place of a corporate lobby. These sculptural forms retain narratives of a previous time and place as well as the disembodied experience of their virtual forms, presented here with new works made from the walls of the barn that was Ghost. Klockner’s works in Edith approach an expanded notion of virtuality, one that familiarly alters our everyday realities through technologies, but can simultaneously mark our material worlds.
Colin Klockner is an artist and writer currently working in Richmond, Virginia. Their work spans sculpture, video, and installation, and explores the notions of site as agent, power exchange, and the art object as syntactic component. They received a BFA from Maryland Institute College of Art in 2014 in Baltimore, Maryland, where they founded the artist-run critical platform Post-Office Arts Journal and co-directed Bb gallery, and they are currently completing an MFA in Sculpture + Extended Media at Virginia Commonwealth University. Recent exhibitions include The Luminary, St. Louis, MO; Interstate Projects (via Springsteen Gallery), Brooklyn, NY; GHOST, Southeast CT; and Towson University, Towson, MD.
Meredith Sellers is an artist and writer living and working in Philadelphia. She received her MFA from University of Pennsylvania and holds a BFA in painting from the Maryland Institute College of Art. She is an editor for Title Magazine, a 2018 Flaherty Fellow, and a participant in the 2017 Art Writing Workshop through the Andy Warhol Foundation. She co-curated the exhibitions Chewing the Scenery (2016) at Crane Arts and The Midnight Sun (2018) at Pilot Projects. Her work has been exhibited at ICA Philadelphia, Lord Ludd, Vox Populi, Icebox Project Space, Black Oak House, and Delaware County Community College.