Brian Karl

  • Sonja Gerdes

    Cloaca Projects is situated in a small, garage-like space on the old industrial edge of San Francisco, a rapidly changing city dedicated more and more to new technical systems of hyperefficiency. Sonja Gerdes’s recent project for Cloaca portrayed uncertain states of relation with such technologies as human beings lurch into the future. Her suite of sculptures represented living creatures as they become augmented, undermined, or superseded by built extensions. Individually and as an ensemble, they functioned as signs of dystopian outcomes amid a scientistic culture of optimism.

    Two mismatched,

  • “Nacht und Träume”

    The way in which creative expression is achieved in an era of often extreme ironic self-positioning was an implicit subtext of this summer group show, albeit one uncertainly realized. Zarouhie Abdalian’s a caveat, a decoy, 2014, a site-specific installation whose sound track looped Schubert’s “Nacht und Träume”—a lied celebrating the (irrational) unconscious and mourning the loss of dreams that comes with waking—lent the exhibition its title and set its tone. Significantly, a caveat’s sound element was forced to compete with the cacophonic street noise blaring through one (pointedly)