26 April – 24 May, 2015
Opening Reception: Sunday, 26th April 2015, 6-9 pm
From Notes on New York:
“There are only two markets, ultra luxury and subsidized housing.” —Rafael Viñoly, architect of 432 Park Avenue
The state of New Jersey must have penis envy. As dozens of all-residential condominiums rise to unfathomable heights around Manhattan, the skyline of New York City undergoes a drastic change, again, furthering the notion of douche insertion into the fabric of a city that is no longer an affordable option for anyone. At 1396 feet, Rafael Viñoly’s new 432 Park Avenue represents an uber-change in the global positioning of wealth. It’s top floor inhabitants literally live in the clouds and can be grossly seen from all five boroughs. The apartments will most likely be purchased by a type that would prefer to keep them uninhabited—they are mere investments waiting to be flipped. Like a watchtower from the Middle Ages, this pencil penis upsets the aesthetic continuum of the skyline as its oversized scale casts long shadows of nauseating dickishness upon great expanses of the city below. And there are more to come. (Inevitably this moment in time will turn flaccid, or soft. From far below, the architecture of a sausage proposes itself as a container stuffed with shit: the parts unknown, the leftovers.)
Piggish presents a small selection of recent works continuing Branca’s research into sausage-like forms.
These paintings are built up over time and consist of thousands of stippled units of varying color within a varying degree of looseness. The compositions selected for Frankfurt am Main in Berlin consider notions of how these glandular bodies can form penile glyph-like structures ranging from attempts at letterforms and symbols expressing an interest in the links between language and things.
Paul Branca is an artist living and working in New York. He received his MFA from Bard College, New York, and currently teaches art history at CUNY. In 2012 and 2013, he organized Fruit and Vegetable Stand I and II, which incorporated works by many participants squatting in a pre-existing fruit stand in Queens, New York. Recent solo exhibitions include Commedia (Nut Delight), Longhouse Project, New York (2014), Autonomy Exchange Archive, West, Den Haag (2014), Social Sausage, LocaleDue, Bologna (2014), Satin Island, Scaramouche, New York (2013), L’origine de l’espace privé &&&, Galerie Sabot, Cluj, Romania (2012), and Couch Crash, Golden Parachutes, Berlin (2010). His works have been included in group shows at the Sculpture Center (2013), The Kitchen (2012), and the Queens Museum, New York. His exhibitions were reviewed and featured in artforum.com, Flash Art, Art Papers and Modern Painters, among others. Recently his work was featured in Painting Now, edited by Suzanne Hudson, and published by Thames and Hudson. A conversation with Jesi Khadivi discussing his practice will appear in the forthcoming issue of Fillip.
Little Flowers for You and Yours, for Piggish by Ed Steck