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pecific Collisions is the second presentation by ar tist Melissa Gordon in an on-going series that addresses the construction o f reading artworks within the frame of the exhibition format.  Taking its t itle from both Donald Judd's Specific Objects and Mina Loy's play\ , Collision\, the exhibition considers artworks in their signifier roll: re-ordering a language of interaction between the containing archite cture and the works as things\, which are adjusted by the circumstance and moment of viewing.

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The history and lore of The Shining\, S tephen King’s book turned seminal horror movie by Stanley Kubrick\, serves as a touchstone for the exhibition.  The Overlook Hotel\, in both book and film\, is a metaphor for the mutability of memory\; the repetitive maze of hallways and doors confuses\, disorients and sets the ground for unexpected encounters.  In Kubrick’s version\, a large hedge maze is used as the locu s of high suspense scenes\, meanwhile omitting the topiary of King’s versio n\, which animated and moved whilst no one was looking.

Sp ecific Collisions is an exhibition where time is of the utmost importa nce while looking.  Overlaps and repetitions of experience occur\, while ti me in some manner elapses in all of the works— the artist documents herself while reading Kant's Critique of Pure Reason in Adrian Piper's Food for the Spirit\, though no narrative or sequence readily progre sses.  A piece of fabric is caught mid-drop in a Francesca Woodman photogra ph.  A pointed reference to TIME\, the magazine and the metaphor\, is found in Mungo Thomson's drawings.  The time of art history runs beneath and bet ween the works as well: Edward Gorey's pen and ink drawings are paired with Max Ernst's collages from Une Semaine de Bonté\, referencing the artists’ mutual regard for one another.  And within the space of the show i s a flat representation of time itself\, as objects come together from radi cally different histories to act in tandem\, creating an uncanny sense of c onfluence. Underscoring this throughout the exhibition is the sound of a he avy mechanical alarm clock from the mid-1800’s\, borrowed from Gordon's lat e grandmother's collection: a coincidental overlap being that she was Steph en King’s English teacher for a time in rural Maine.

The exhib ition contains another smaller display within itself\, as the building fram es three nearly identical installations in its seemingly similar\, vertical galleries.  The trio of Rita McBride's Middle Managers\, Willem O orebeek's Pirelli Portraits and Thomson's TIME drawings s peaks to a reflecting\, negative space.  These objects are both recognizabl e and blank: mirrors of real things altered and adjusted.  The repeat lays out the theme of the double-take throughout\, starting with a René Danïels double silkscreen in the entrance and spilling out into the rest of the sho w.  The re-iterations speak to the sense of something changing whilst not b eing directly regarded\, and point to the importance of the gaze in the the mes that run throughout the works surrounding the inner exhibition: the bod y as stand-in for a thought in Bas Jan Ader's photographs\, the weight of p resence of something unseen in the sculptures of Jason Dodge and Chris Evan s\, the physical sense of a trace or evidence in a formal object in Lisa Op penheim and Melissa Gordon's collaboration and in Sue de Beer's flickering film\, the Droste effect on language and representation in an artist book o f Ian Hamilton Finlay and Dexter Sinister wall text\, and the arresting nat ure of a reciprocal gaze in Edvard Munch's woodcut and Marlene Dumas' pietà Two Women.

The gaze\, in complicating the relationsh ips of signifiers\, is underlined and repeated within the exhibition’s cata logue\, which serves as a reader for the show.  A new text by Will Holder u tilizes a linguistic structure from Laura Mulvey's Visual Pleasure and Narrative Cinema to read through the web of gendered gazes in the shor t film Making the Shining by Vivian Kubrick\, Stanley Kubrick's da ughter\, who was a budding teenage filmmaker on the set of The Shining.

DTEND:20130223 DTSTAMP:20140902T180627 DTSTART:20130125 GEO:40.7656864;-73.9668757 LOCATION:Marianne Boesky Gallery 64th Street\,118 East 64th Street \nNew Yo rk \, NY 10065 SEQUENCE:0 SUMMARY:Specific Collisions\, Bas Jan Ader\, René Danïels\, Sue de Beer\, J ason Dodge\, Marlene Dumas\, Max Ernst\, Chris Evans\, Ian Hamilton Finlay\ , Melissa Gordon\, Edward Gorey\, Rita McBride\, Edvard Munch\, Willem Oore beek\, Lisa Oppenheim\, Dexter Sinister\, Mungo Thomson UID:254936 END:VEVENT BEGIN:VEVENT DTEND:20130125T200000 DTSTAMP:20140902T180627 DTSTART:20130125T180000 GEO:40.7656864;-73.9668757 LOCATION:Marianne Boesky Gallery 64th Street\,118 East 64th Street \nNew Yo rk \, NY 10065 SEQUENCE:0 SUMMARY:Specific Collisions\, Bas Jan Ader\, René Danïels\, Sue de Beer\, J ason Dodge\, Marlene Dumas\, Max Ernst\, Chris Evans\, Ian Hamilton Finlay\ , Melissa Gordon\, Edward Gorey\, Rita McBride\, Edvard Munch\, Willem Oore beek\, Lisa Oppenheim\, Dexter Sinister\, Mungo Thomson UID:254937 END:VEVENT END:VCALENDAR