View of  “Si Sedes Non Is,” 2017. Photo: Nikos Koustenis.

View of “Si Sedes Non Is,” 2017. Photo: Nikos Koustenis.

“Si Sedes Non Is”

The Breeder

View of  “Si Sedes Non Is,” 2017. Photo: Nikos Koustenis.

Classicist James I. Porter writes: “The sublime cannot be seen. It is that into which one must plunge.” Pitted against the Athens segment of the often heavily didactic Documenta 14, the Breeder’s summer show “Si Sedes Non Is,” curated by Milovan Farronato of the Fiorucci Art Trust,plunged the viewer into a constellation of esoteric artistic positions and arcana, and located sublimity within a ritualistic dematerialization of labor and capital inextricably linked to the potency of any representation today.

The exhibition took its title from the Latin inscription on Lucy McKenzie’s painting Alchemical Door, 2017, which was mounted low on the wall at the entrance of the gallery. The words could be read from left to right as “If you sit, do not go,” or from left to right, “If you go, do not sit.” It was no coincidence that this oil-on-canvas, faux-bois portal bearing pseudo-Masonic

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