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GARBOUSHIAN GALLERY is pleased to present an exhibition of new works by Max Presneill. This marks Presneill's second solo exhibition w ith the gallery.

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If we consider that our globalized world is best characterized by the continued acceleration of time\, of things passing in and out of existence too fast\, and of a certain feeling of saturated subje ctivity\, then Presneill's pictures appear to be a crucial effort to deal w ith the problem of (dis)orientation. In an age where trends having been rep laced by what is 'trending'\, where interactions have been superseded by tr ansactions\, and where all activity is now interactivity\, multi-tasking\, etc.\, it can begin to feel as if we are becoming a culture of hieroglyphic techniques\, from text messages and viral videos to hyperlinks and sound-b ite entertainment. Everywhere 'culture' has become a whirling dervish of im agistic production unlike anything the world has ever known - and it is in this regard that 'repertory' (technique) has become 'inventory' (glyph)\; t hat simulation has lead to cultural fragmentation\; and any sense of 'total ity'  has been covered over by the endless play of (glo)banality. 

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If we take this as the background that Presneill's works are inscribed upon \, then we can begin to understand how his images\, installations and tombs of cultural artifacts attempt to stay\, and even resist\, the fluid nature of the moving image. By holding these pictograms still for a moment\, and transposing them into a new medium or mediums\, Presneill's pictures subjec t the tumultuous flow of data-consciousness to the eternal perspective of a historical continuum subtracted from any cultural idiom in particular.

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But much like Egyptian sarcophagi\, Presneill also introduces some pe rsonal effects into the mix which are meant to upend the self-reflexivity o f postmodernism by extracting the authentic from the iconographic. At every turn in his work we see an endless (re)negotiation with the invariable lig htness of cultural signs and their infinite mutability\; a concerted effort to channel and reorganize the persistence of symbols and myths in a cultur e of unending recyclability\; and a dedicated practice of reading history f rom the moment in which it takes shape.

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As part of this (meta)decon structive dialog\, we can better understand Presneill's project as an effor t to render that which is immanently familiar uncanny\; as a means of makin g western art and art history a thing unknown to us\; and as a concerted ef fort at denying every form of confidence about what is constitutive of 'pre sence' in the present. Indeed\, his work might even be characterized as an art of utility - grabbing what is necessary in the moment in order to upend the fictions of the past - creating a kind of rotary motion that might be called counter-archivization or counter-aesthetization.

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We could ev en go to the end\, and say that this kind of neo-Egyptian operation comes v ery close to mirroring "the Egyptian myth\, where there will always be an I sis to piece together the scattered limbs of Osiris." But much like the lab or of reconstruction/deconstruction\, Presneill's imagery also shows us tha t a metaphysical body can never be properly reassembled\, i.e.\, that Osiri s will forever be haunted by a primal lack\, an unassailable impotency\, an d an improbable form of reincarnation. In other words\, art after the Egypt ian effect will partake of a wholly deconstructed nature\, having been cut into a million little pieces\, first by modernism\, then by postmodernism. As such\, the Egyptian effect becomes the sign of a profane act that everyw here attempts to return the metaphysics of presence to the common use of 'c ulture'.

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Presneill's paintings not only force us to question our ow n presuppositions about culture and taste\, but they do this by moving betw een kitsch and coquettishness\, familiarity and dissonance\, a tacit disres pect for formal constraints and an irreverant indulgence in divergent theme s and rendering techniques. Yes\, Presneill is still a provocateur in an ag e that has fewer and fewer such individuals\, but he is also a very specifi c type of provocateur - one who relishes in the anonymity and the agency of the scribe. 

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Grant Vetter\, Excerpt from the exhibition catalog\,  Max Presneill: Paint Like an Egyptian\, 2012

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An opening reception f or Max Presneill will take place on Friday\, June 29\, from 7:00 to 9:00 pm . The exhibition will remain on view until August 2\, 2012.

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"Utilizing sources from the Internet\, photographs from my own life\, art historical references\, multiple other resources and intuitive decision making when painting\, I reflect upon the relationship between fact and fi ction as well as past and present. Within reconstructed histories and mytho logized experiences\, the forged connections that play between remembering and invention act as considerations of the nature of reality\, power and id entity. In the end the paintings are the remnants and evidence of the cogni tive\, problem-solving nature of painting and the human experience\, or at least mine..."

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Max Presneill

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DTEND:20120802 DTSTAMP:20141225T232130 DTSTART:20120629 GEO:34.0689539;-118.4045671 LOCATION:Garboushian Gallery\,427 North Camden Drive \nBeverly Hills\, CA 9 0210 SEQUENCE:0 SUMMARY:The Captain's Tale OR The Liminal Egyptian\, Max Presneill UID:224507 END:VEVENT BEGIN:VEVENT DTEND:20120629T210000 DTSTAMP:20141225T232130 DTSTART:20120629T190000 GEO:34.0689539;-118.4045671 LOCATION:Garboushian Gallery\,427 North Camden Drive \nBeverly Hills\, CA 9 0210 SEQUENCE:0 SUMMARY:The Captain's Tale OR The Liminal Egyptian\, Max Presneill UID:224508 END:VEVENT END:VCALENDAR