new-york

Matthew McCaslin

Daniel Newburg Gallery

The gallery as nonsite. From the empty exhibition space to scatter installations, the performance of a nonsite is less a matter of materials than of timing—an almost baroque prolongation of the moment directly preceding the encounter with art. There are no high stakes in this parlor game of defamiliarization, for the gallery as nonsite can only be a theatrical event concluding in the attainment of art, and we willing players in the recreational sport of pursuit. The miseen-scene that facilitates Matthew McCaslin’s version of the art chase is a construction site. Extension cords and electrical conduits—some hooked up to circuit boxes and switches or dimmers, some dangling incandescent bulbs or strutting neon tubes, some menacingly sprouting a live wire or two—lie in loose coils or tangled across the floor amidst the usual bits of trash and discarded packaging that are ubiquitous to the job

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