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Bureau is pleased to announce Deluge\, Lionel Maunz's third solo exhibition for the gallery. On the occasion of this exhibition an inte rview was conducted with the artist\, an excerpt of which appears below.

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GG: This show takes its title directly from a specific work of art: ' The Deluge' by Paolo Uccello. It is a scene of destruction and chaos around the Ark showing drowning and foreshortened bodies looking for salvation fr om Noah. I always love Uccello for his uncompromising use of geometry and s ystems of perspective.

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LM: In Uccello's work perspective is a geome tric barbarity. Narrative and figuration are both incidental to this unrele nting principle of linear constraint which in this painting forms a frame w ithin which cruelties are acted out. In the fresco you have the Ark\, which frames both sides of the painting in tapering walls of a trapezoid. On the left\, we see action taking place during the flood\, showing desperate sit uations of violence. On the right\, are scenes from after the flood: the gr ound littered by bloated\, dying bodies. The Ark walls frame the scene\, ma king it an interior. It's a reversal which situates all the violence inside the Ark\, not as a place of salvation but as a tomb.

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I've been obs essed with this Uccello painting since I first saw it in reproduction\, and got a chance to see it in person in 1999. What excites me about it is the conversion of fear to violence: a coalescing of terror into this desperate spasm of ruin. I look at the fresco and want to agitate\, to exacerbate it\ , to ensure that nothing is spared.

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I had a lot of reservations in using such a direct\, classical reference\, for fear that I was giving myse lf and the viewer too firm a footing. That said\, I like referencing the fo rced perspective of the Ark. It's an architecture that hems in and restrain s: the idea of a calculus of oppression. Architecture can be an articulate approach: consolidating not just the body and its activity but also memory\ , rendering an inert residue. Architecture infected by experience. Specific rooms and buildings are more clear to me than the memory of my body in the m.

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GG: Several works in the new exhibition include mutilated or dec aying body parts of a horse. The mutilation of a horse could be seen as a s mall\, pathetic or sadistic gesture because it is directed at a broken anim al that has been perpetually tamed for human implementation.

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LM: Th e horse plays a prominent role in Uccello's Deluge in which a drowning hors e and rider is being attacked by a man with a club. One of the larger piece s in my show is a concrete plinth with cast iron elements including a large \, mutilated horse head struck through the center with a geometric form. Th e piece also contains a series of rotting hooves\, farrier's pliers and a s tack of crude architectural models of the apartments and trailers where I g rew up.

The horse is this wild force that is harnessed for war and dominance and a tool that pulls the plow: a dumb animal that's been br oken\, taught\, and has learned its place and stupidly complies. I suppose I'm equating domestication and stabling with learning. This is a real tensi on for me\, the animal/child relationship. There's something about the mimi cry\, the learning\, the inherited ambitions which create an irreconcilable problem. Custodians\, parents\, trainers pouring effluvium into tiny funne ls\, valves without scrutiny. Here innocence is an object of scorn.

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My interest in horses came from an accumulation of references which I gues s I'm trying to interrogate with this show. Some of these references includ e accounts of striking instances of neglect on farms\, satanic ritual abuse of horses. Nietzsche's tears\, Raskolnikov's dream\, Ashvamedha. And refer ences to violence against horses in Peter Sotos's work. I recently read The Horseman\, an account of a zoophile\, which adds another facet to this com plex of references.

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The horse is an incredibly powerful animal so t here is a funereal grandeur in its murder\, coupled with as you say a small ness. I don't want to talk about brutality in generalized terms\, I see the horse and its references as a way to narrow the scope: trying to get at a specific aspect of brutality and violence. That an act can be so stripped d own and raw that it can't be further harmed\, critiqued or judged. I think this is close to purity.

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GG: Going back to Uccello's strict use of logic and geometry\, in your work there has also always been specific imple mentation of line and direction. The lines often imply a reversal or a down ward direction\, suggesting a subterranean realm or a descent.

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LM: The strict use of direction in the work is a desire for specificity. A move away from completion into smaller\, more important definitions. A downward pointed cone. I'm not interested in expansion\, rather cutting away\, furt her focusing an already narrow perspective. The strata\, the tiers in the w ork were originally a reference to the geologic\, an approach to this explo sive\, violent interior.

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In Uccello's painting there is a drowning man clutching at Noah's ankles. One thing I hate about this painting is the central figure of Noah praying\, thanking god for his salvation. I thought to substitute Noah for the Saturnian figure reveling in the cataclysm. Whi ch is also me. One of the pieces in my show is an inversion of this scene: a foot crushing a hand\, pushing it down\, ending rather than saving.

GG: The body has always been an important facet of the work\, eith er the body of the viewer literally walking into an environment\, as with y our first solo show\, 'Wail Eternal'\, or with the grave form and implied p rostrate figure in your second show\, 'Receipt of Malice'. How does the fig ure and the affiliated shifting of scale around the sculptural form operate within your work?

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LM: The work has always been figurative. This fu lminating\, grinding\, butchered thing. But it's difficult depicting the fi gure\, or adequately getting at this impossible\, traumatized pulsation of experience. I would hate to wallow in representation if it meant squanderin g cruelty in favor of communication. So in the earlier work the figure was anyone engaging the work\, while the work itself was the deforming principl es of existence. Gradually\, in fragments\, the represented body has become a larger presence. If you think of the first show as the external forces t hat assault the body\, the second show as the assaulted body\, then this sh ow is the assaulting body.

DTEND:20140209 DTSTAMP:20141219T131736 DTSTART:20140112 GEO:40.7212559;-73.985596 LOCATION:Bureau\,178 Norfolk Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:DELUGE\, Lionel Maunz UID:313355 END:VEVENT BEGIN:VEVENT DTEND:20140112T200000 DTSTAMP:20141219T131736 DTSTART:20140112T180000 GEO:40.7212559;-73.985596 LOCATION:Bureau\,178 Norfolk Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:DELUGE\, Lionel Maunz UID:313356 END:VEVENT END:VCALENDAR