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In 1792\, Spanish explorer Alessandro Malaspina sailed north
from California on the Vuelo Nube in search of the secret
entran ce to the legendary Northwest Passage. Believing he
had found it\, he sailed deep into an inlet\, all the way to
Haenke Island before realiz ing he was headed for a dead
end. Bitterly frustrated\, he named the a rea “Disenchantment
Bay.” The area has since become a site of contradi ctory
legend among residents of Whitehorse and Juneau.
Having stu mbled upon a postcard depicting some fishermen
exploring an iceberg in Disenchantment Bay\, itinerant artist
Louise J. Berg started a multi- year quest to learn about the
place\, its people\, and its stories. Aw ed by the stark beauty of
the environment and intrigued by the symboli sm of a bay of
disenchantment\, she has drawn on her research and on t he
unyielding wonder of the North to epically transform the
Proje ctive City gallery. Berg’s ambitious installation
is both a reinventio n of the northern landscape and a poetic
reenchantment of the natural world. Regenerated etchings of
the Aurora Borealis cascade above botto mless icebergs
floating uneasily in the gallery-sized pool\, while an enormous
lodestone struggles to find the north as Berg creates an
immersive landscape transcending any particular space\,
myth\, or per sonal identity.
Berg also uses the name of the place to reference the< br />aporetic notion of disenchantment in general. Max
Weber’s descrip tion of “the disenchantment of the world\,”
In Collaboration with Proj ective City
brought on by the secularizing effects of capitalism\, rat ionalism\,
and modernity\, became a central problematic motif for a
generation of European intellectuals. It has\, if anything\,
increa sed in its importance today. Berg’s evocative work
highlights the hope but also the difficulty of seeking magic in
an ever-warming\, mass-pr oduced universe.
Emerging from several years pursuing independent stud y in
residencies around the world\, Louise J. Berg draws from a
d iverse range of influences including John Hartman\, Frederic
Stuart Ch urch\, Luc Tuymans\, David and Diana Wilson\, Dexter
Sinister\, Aarven Koord\, and the philosophy of Kant. This is
her first exhibition with Projective City.
“These appearances are not things in themselves\; th ey are
only representations\, which in turn have their object—
an object which cannot itself be intuited by us\, and which
may\, theref ore\, by named the non-empirical\, that is\,
transcendental object=x” (Kant\, Critique of Pure Reason
(A Deduction))

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Please note: The gallery will be closed from 23 December to 1 January inclusive.

DTEND:20130105 DTSTAMP:20140713T063809 DTSTART:20121115 GEO:40.7501774;-74.0041245 LOCATION:Mixed Greens Gallery\,531 W.26th St. \nNew York\, NY SEQUENCE:0 SUMMARY:Paris-Scope: The Reenchantment of Disenchantment Bay\, Louise Berg UID:244819 END:VEVENT BEGIN:VEVENT DTEND:20121115T200000 DTSTAMP:20140713T063809 DTSTART:20121115T180000 GEO:40.7501774;-74.0041245 LOCATION:Mixed Greens Gallery\,531 W.26th St. \nNew York\, NY SEQUENCE:0 SUMMARY:Paris-Scope: The Reenchantment of Disenchantment Bay\, Louise Berg UID:244820 END:VEVENT END:VCALENDAR