Paris-Scope: The Reenchantment of Disenchantment Bay

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© Courtesy of the artist & Mixed Greens Gallery
Paris-Scope: The Reenchantment of Disenchantment Bay

531 W.26th St.
New York, NY
November 15th, 2012 - January 5th, 2013
Opening: November 15th, 2012 6:00 PM - 8:00 PM

Closed as of January 2016


In 1792, Spanish explorer Alessandro Malaspina sailed north
from California on the Vuelo Nube in search of the secret
entrance to the legendary Northwest Passage. Believing he
had found it, he sailed deep into an inlet, all the way to
Haenke Island before realizing he was headed for a dead
end. Bitterly frustrated, he named the area “Disenchantment
Bay.” The area has since become a site of contradictory
legend among residents of Whitehorse and Juneau.
Having stumbled 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. Awed by the stark beauty of
the environment and intrigued by the symbolism of a bay of
disenchantment, she has drawn on her research and on the
unyielding wonder of the North to epically transform the
Projective City gallery. Berg’s ambitious installation
is both a reinvention of the northern landscape and a poetic
reenchantment of the natural world. Regenerated etchings of
the Aurora Borealis cascade above bottomless 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 personal identity.
Berg also uses the name of the place to reference the
aporetic notion of disenchantment in general. Max
Weber’s description of “the disenchantment of the world,”
In Collaboration with Projective City
brought on by the secularizing effects of capitalism, rationalism,
and modernity, became a central problematic motif for a
generation of European intellectuals. It has, if anything,
increased in its importance today. Berg’s evocative work
highlights the hope but also the difficulty of seeking magic in
an ever-warming, mass-produced universe.
Emerging from several years pursuing independent study in
residencies around the world, Louise J. Berg draws from a
diverse range of influences including John Hartman, Frederic
Stuart Church, 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; they are
only representations, which in turn have their object—
an object which cannot itself be intuited by us, and which
may, therefore, by named the non-empirical, that is,
transcendental object=x” (Kant, Critique of Pure Reason
(A Deduction))

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