BRYAN SCHUTMAAT, PASCUAL SISTO, BRIAN KHEK

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BRIAN KHEK, Sam 2a, Sam 2b, Sam 2c, 2014
acrylic on newspaper

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BRIAN KHEK, AMY YAO

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AMY YAO,  Jouissance, PCH: Milan; 2014
fiberglass, synthetic rice paper, crayon, polyester resin

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AMY YAO, Italian Tickler

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PASCUAL SISTO, Obstructed Views, 2008
digital prints on postcards

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PASCUAL SISTO, Obstructed Views (Eiffel Tower), 2008
digital print on postcard

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PASCUAL SISTO, Obstructed Views (Notre Dame), 2008
digital print on postcard

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JENNIFER TEETS, Buffalo Mozzarella

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BRIAN KHEK, Sam 1a, Sam 1b, 2014
acrylic on newspaper

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BRIAN KHEK

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BRYAN SCHUTMAAT, Paul, 2010, photograph

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BRIAN KHEK, Kalimotxo

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JENNIFER TEETS ft. NICHOLAS HATFULL, BRYAN SCHUTMAAT

all images courtesy Taylor Macklin

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Un pour la route was a witty group show organized by American artist ADAM CRUCES as part of the artist-run space Taylor Macklin that he founded with GINA FOLLY, and THOMAS JULIER this spring. The exhibition which gathered works, drinks and foods by BRIAN KHEK, PASCUAL SISTO, BRYAN SCHUTMAAT, JENNIFER TEETS featuring NICHOLAS HATFULL, and AMY YAO took place in CRUCES‘ apartment in Paris earlier this month.

Contrary to the collective beliefs, the aperitif obeys a meticulous master plan, a series of conventions that strictly delimits the contour of this pre-dinner ritual. Too much alcohol makes you forget that you have to eat. A lack of it frustrates the participants. It is also a time of deceleration that reverses the principles of the high-speed train: fast immobility. As such it somehow acts as a testing ground for discourses and positions. The antiquity privileged the symposium in which wine acted as a catalyst to address issues that gathered philosophers, historians, and mathematicians. But now it is the ambiguities that pertain this tradition toward the post-industrial economy that makes it relevant: working outside the domain of productivity, the aperitif is nonetheless one of the most effective social laboratories. – CHARLES TEYSSOU, November 2014

→ http://taylormacklin.com/

 

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