Time: Saturday, May 7, 4-5 PM
In Person at EFA Project Space (323 West 39th Street, 2nd Floor, NYC 10018)
on the boat, let's face it i'm held. in its waves, its vagueness, in its water. i see only water. water doesn't answer. no land ahead. just water. /eileen myles, the importance of being iceland
...and under them the earth
sank with its grosser portions; and the water,
lowest of all, held up, held in, the land. /ovid, metamorphoses, book one, lines 30-2
the water is opaque. it is comforting to imagine that you are in it. you won't be visible any longer… relief from the unending demands of simple sight. /roni horn, saying waterwater receives you, affirms you, shows you who you are, and all the neat, imperceptible qualities that are water tease you with their ambiguity, tease you and extend you out into the world. /roni horn, saying water
May 7, dispersed holdings will perform meditations on water with words and sound, in conjunction with Sal Randolph’s installation, Slowing Time.
ABOUT THE EXHIBITION
Curated by Dylan Gauthier, Radhika Subramaniam and Marina Zurkow, and featuring installations by Eating in Public/Gaye Chan + Nandita Sharma, Anna Rose Hopkins + Marina Zurkow, Del Hardin Hoyle, Sal Randolph, and collaborators, Sprout Hinge Nap Wobble is a group exhibition that invites the public to feel planetary relationalities at a time of planetary crisis. The vicious systems and wilful actions that are responsible for today’s planetary catastrophe have spawned an attendant industry of planning—preparedness, scenario planning, emergency management—that directs itself to the future, to anticipation, to fear, to escape. Through a series of arrangements and encounters, Sprout explores the material and metaphorical ways in which connections are possible in a climate of uncertainty—neither wholly optimistic nor utterly despairing, neither propelled by urgency nor foreclosed, but held within their vibrating tensions.
BIOS
Jeff Dolven teaches poetry and poetics at Princeton University, where he was founding director of the Interdisciplinary Doctoral Program in the Humanities. A collection of his poems, A New English Grammar, is forthcoming from Dispersed Holdings.
dispersed holdings is an artist-run platform for publishing and experimental listening practices founded in 2015 by Sal Randolph and David Richardson. For two years (2016–18), dispersed was sited in the former Bowery apartment of the artist Eva Hesse. Since leaving that space, dispersed holdings has published three books: Speed of Resin (2019), a meditation on impermanence and an homage to Hesse; Reading Room (2020), a document of the "Ambient Reading Spectacular" residency series and an exploration of the practice of reading; and Reading Now (2021), a follow-up to Reading Room that considers reading practices amid lockdown. On occasion, dispersed holdings is also a band.
Sal Randolph is an artist working between language and action. Her current work addresses the intersection of attention, time, feeling, capital, and crisis through performance, experimental publishing, and the creation of social spaces. She is co-founder of dispersed holdings, originally a listening and publication space in New York sited in the former apartment of sculptor Eva Hesse, continuing now as a publishing project and, from time to time, a band. She is a member of the research consortium ESTAR(SER) and is currently a teaching fellow at Bennington College. She is also a Zen practitioner and senior student of Roshi Enkyo O’Hara at the Village Zendo.
David Richardson writes fiction and essays. Since 2015, he has co-directed the publishing project dispersed holdings, with whom he edited Reading Room (2020) and Speed of Resin (co-published with Cooperative Editions, 2019), and co-edited Reading Now (2021). He holds an MFA in fiction from UMass Poets & Writers, and he teaches in the Bard Language and Thinking Program, the Bard Prison Initiative, and the UMass Writing Program.
Emma Wippermann is a poet based in New York. Her closet drama Joan of Arkansas is forthcoming from Ugly Duckling Presse later this year. She has an MFA from Brown University and has published work in jubilat, Omniverse, Second Factory, No, Dear, Oversound, Temporary Art Review, and elsewhere.
LAND ACKNOWLEDGEMENT
This is Lenapehoking, the Lenape homeland and gathering place for many Indigenous nations and beings. When the unceded earth breathes again, there will be Indigenous lives here, as there are now and have always been. It will still be Lenapehoking. We learn from the bedrock and commit to uplifting, honoring, and listening to those who are seen and unseen, present and future.
ACCESS INFO
EFA Project Space is located on the second floor of 323 West 39th Street. It is accessible via an elevator (whose door width is 32” and car width is 65”) or two flights of stairs. At the building’s ground-level front desk, you will be asked to sign in with your name but not to provide ID.
The exhibition is free. Chairs with backs are available to guests upon request by speaking to a gallery attendant. There are two non-gender-segregated bathrooms on the building’s third floor, accessible via the elevators, outside the Project Space. The bathrooms are cleaned twice daily. One bathroom is wide and long enough to accommodate a wheelchair; the other cannot. Neither bathroom has grab bars. Though we cannot guarantee a scent-free space, we ask that all guests, who are able, to attend the exhibition fragrance-free, out of consideration for guests with chemical sensitivities. Fragrance-free soap is available in the restrooms on the third floor.