Los Angeles

View of “Susan Cianciolo,” 2018. Photo: Brian Forrest.

View of “Susan Cianciolo,” 2018. Photo: Brian Forrest.

Susan Cianciolo

Overduin & Co.

View of “Susan Cianciolo,” 2018. Photo: Brian Forrest.

“RUN 12: God is a Jacket” was Susan Cianciolo’s first exhibition in Los Angeles since her 2016 survey of works from the 1990s to the then present at 356 S. Mission Rd. There, her kits—Fluxus-inspired cardboard boxes packed with handmade clothing and ephemera—featured prominently. Here, Cianciolo offered another means of retrospection in framing the show through RUN, the label she managed between 1995 and 2001. A willfully inefficient production system, predicated on improvisatory and seemingly ludic collaborations involving friends and family members with varying technical skills, it yielded eleven collections. Now comes the twelfth, the titular RUN 12: God is a Jacket, 2018: a suite of thirty-four ensembles of emphatically aggregated found textiles and discrepant materials, ready to wear but presented dangling limp on hangers nailed to the walls of the main gallery. The question,

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