Scope was an incestuous shitshow of a party, representing the nittiest & grittiest of what Brooklyn has to offer. This sentiment was particularly heightened by Roberta’s distasteful cafe cum grungy hipster bar complete with overprice yogurt and granola. Not that Scope made efforts to depict Brooklyn in any way, it just naturally veered in that direction as a result of participating galleries as well as the administrative team behind the fair. I’m just saying it could have been a bit more mature, clean, and substantial for a lack of better wording.
There was a generous amount of humor and playfulness found in the works, which you can label as experimental, process art, social discourse, appropriation, or all the above. Here are my highlights:
In this series of sensationally moody photographs artist Sara Greavu hires an actress to collect objects of detritus and careless abandon, remains of a Halloween parade rife with costume props and wigs scattered on the streets. The figure walks aimlessly through the streets, picking up littered remains and making them her own. She poses with zombie like stillness, her gaze slightly off the camera, donning her attire with the detachment and austerity of a fashion magazine spread, making the images all the ridiculous and funny.
Luis Barba’s photocollages have tacky written all over them but it’s entertaining. Combining Renaissance with iconic pop it’s the worst and the best attempt to clash cultures of the past with present.
Paolo de Biasi’s collage paintings hark back to the vintage and modern with an emphasis to scale and perspective. Elements of the bizarre and familiar give the works a shout to pop art without giving too much care for consumerism.
Joshua Hagler’s sculpture is a vortex of blackened figurines spilling out of the wall, inexplicably wrapped in a firehose and floating in the shape of some engorged animal. I immediately think oil spills and states of emergency.
These dwarves by Luo Zhenhong are simply irresistible.
Figures in Lee Materazzi’s photographs are caught up in, stuff.
Jennifer Catron and Paul Outlaw takes over Scope with a live rendition of Imeday Imeday Ollarday Icklenay, an exhibition cum dinner party recently hosted by Allegra La Viola Gallery. Their lush photographs and performances are poised for the fantastic, demented, and the spectacle. They also made a stint last summer as a fish fry truck.
Not a big fan of this.
Jenny Morgan as Jenny Morgan. Her paintings exude realness; its texture, scale, and overexposed skin filling up the picture plane always makes for an overwhelming viewing experience.