“Pantheistic euphoria suffuses a visually dense exhibit of delicate interactive pieces,” Albert Stabler writes in Proximity.
The show’s visionary energy is at its most cartographic in the striking piece, “And We Built A City Together,” a participatory wall map by Meg Turner and Andrew Oesch. At the opening, viewers were given a paper bag printed with superimposed line drawings of building exteriors, in a variety of colors. Similar prints were found within the bag on numerous stickers, and participants were provided scissors and markers galore to augment buildings, which could then be affixed to the diagonal street grid that took up all three sides of a niche by the door. Meg and Andrew, also known as “How To,” would take an informational card filled out by the “architect,” shoot a picture of her pointing at her creation, and stamp her instruction card, to certify the building’s legitimacy on behalf of this imaginary community in this momentary encounter. The result is at least a moving illustration of a de-centered totality, a cohesive diagram of an impossible place, a simple scheme implying a grand gesture of incidental accidents—everything that this show, at its best, strove to convey.
The piece also singles out Rob Ray’s great chunk of a poster, “extolling viewers to start their own DIY art and performance spaces.” The fact that I have failed to get my hands on proper documentation of this piece, and this piece alone, brings me shame on a daily basis.