Las Cienegas Projects is pleased to announce The Archaic Revival, a group exhibition curated by Los Angeles-based artist Dani Tull.
The term Archaic Revival is a reference to Terence Mckenna’s 1992 book The Archaic Revival: Speculations on Psychedelic Mushrooms, the Amazon, Virtual Reality, UFOs, Evolution, Shamanism, the Rebirth of the Goddess, and the End of History, which hypothesizes that civilization’s current state of distress has resulted in a grappling into our collective memory and the “morphic resonance” of our past 3.5 million years for steading metaphors that reconnect us to the entelechy of the planet: the Gaian mind. Terence Mckenna (1946–2000) was an American writer, philosopher, ethnobotanist, mystic and prophet who advocated paths of shamanism and the use of plant-based psychedelics as a means of increasing many forms of human awareness.
The Archaic Revival incorporates a wide array of cultural models and technologies such as shamanism, pantheism, pagan ritual, alchemy and magic as well as the 20th century avant-garde art movements of jazz, surrealism, and cubism (with its glorification of the primitive, modern anthropology). More recently, the expanding power of the internet and new media technologies have also become powerful tools that infuse and ignite ancient and contemporary understandings of tribal connectivity, inspiring a sense of global coherence, along with a brewing notion of a new cyber-mystical domain of “infomysticism” and “techgnosis”. Furthermore, indigenous ceremonial medicines once misused as “psychedelic drugs” have become re-contextualized in Western culture as sacramental “entheogens”, while tribal festivals, ecstatic dance, and a flourishing awareness of critical environmental issues and sustainable living have reawakened our traditional attitudes toward nature. Perhaps most interestingly, Mckenna’s Archaic Revival signifies the eventual breakdown of the pattern of male dominance and hierarchy based on “animal organization,” and takes us back to the ideal of a vegetational “Earth Goddess”.
The Archaic Revival features 31 established and emerging artists and performers from Los Angeles, Portland, and Rotterdam whose works can be considered as manifestations of a burgeoning dialogue from within the collective subconscious of contemporary art. The artists in the exhibition use allegorical code, sacred plant knowledge, magic and an untethered glossolalia, while their works intuit mysticism, alchemy, fetishistic processes, prophecy, and even humor.
The artists of The Archaic Revival call upon their ancestors to find their footing into the future, a future that is undoubtedly becoming stranger and more uncertain. And as humanity ponders the possibility of its own extinction, we find ourselves reaching back through history and mythology to find a greater affinity with our own genesis.
The exhibition will also feature special musical performances
and ceremonial happenings:
Saturday Jan 29
by featherbeard during opening reception
Sunday Feb 13, 1:00 pm
Ceremonial Earth Acupuncture Dream Journey
by Urban Shaman Eric Baumgartner
Sarah Cromarty, Ka-dinh and Mia, 2011. Mixed media on panel, 8 x 4 ft.
Liz Craft, I’m #1, 2010. Ceramic, 10 x 6 in.
Installation view. Left to right- Brian Randolph, Arc, 2009, ink on paper, 38 x 20 in.; Wreath, 2011, ink on paper, 29 x 30 in.; Trinity, 2010, ink on paper, 30 x 20 in.; (Jim Shaw and Amy Sarkisian works, see below)
Amy Sarkisian, The Gods, 2004. Foam, beads, adhesive, paint. 54 x 9 x 7 in. ea.
Jim Shaw, Devil is in the Details, 2011. Airbrush and ink on panel, 24 x 24 in.
Installation view. In foreground, left- Mindy Shapero, Totem Vision, 2010. Wood, steel, glass mosaic, 10′ x 15″ x 12″; center- Stephen McCarty, Sacred Canometry, 2011. Steel cans, rivets, wire, coconuts, 24 x 24 x 8 in.
Pentti Monkkonen, Mill, 2010. Cotton, 42 x 50 in. and Erie Canal, 2010. Cotton, 40 x 49 in.
Sandeep Mukherjee, Untitled (Oblique 1), 2011. Acrylic and embossed drawing on duralene, 60 x 54 in.
Installation view. Left to right- Anna Sew Hoy, Ghost Table, 2011. Glazed ceramic, wood, and fabric; Michael Decker, The Night When All Cows are Black…, 2011. Found and altered wood, 64 x 55 x 4 in.; Francesca Gabbiani, Gold Rush, 2009. Colored paper, gouache on paper, 55 x 58 in.
Wendell Gladstone, Life Cycle, 2010. Acrylic on canvas, 65 x 45 in.
Marnie Weber, The Earth Became the Sun and We Rejoiced As Beings of Light, 2010. Collage and acrylic paint on paper, 40 x 26 in.
Left to right- Thaddeus Strode, Commencement, 2011. Mixed media on canvas, 20 x 16 in. ea.; Stephen McCarty, Sacred Canometry, 2011. Steel cans, rivets, wire, coconuts, 24 x 24 x 12 in.; Marnie Weber, The Earth Became the Sun and We Rejoiced As Beings of Light, 2010. Collage and acrylic paint on paper, 40 x 26 in. (rocks: foam, foamcoat and acrylic acrylic paint, dim’s variable)
Pearl Hsiung, Kabloom, 2010. Oil-based enamel on canvas, 40 x 30 in.
Allison Schulnik, Sad Hobo, 2010. Oil on canvas, 20 x 16 in.
Alia Penner, Window #3, Window #2, Door, and Window #1. All 2010, oil on panel
Landon Wiggs: Vanity, Unknown Drama, 2009-2011. Mirror, wood, steel, iron filings, charcoal, urethane, vermiculite, rice flour, glass, taxidermy, 86 x 58 x 30 in.; Fry We Buy You, 2008-2011. Glass, wood, LED, 85 x 42 x 13 in.; As Is, Time-Space Capsules, 2010-2011. Volcanic ash, vermiculite, rice flour, glass, urethane, wood, 53 x 13 x 11 in. and 33 x 20 x 24 in.
Installation view. Left- Chromium Dumb Belle, various works (Sun Arrows and Cocoons; Lady Vesuvius; Sunbonnet; Archeaon; Aurora Goddess of Dawn; and The Virgin of Heliopolis) 2010-11, mixed media, dim’s variable; Chromium Dumb Belle, Sun Testament, 2011. Video, 3 min. Right- Landon Wiggs, various works (see above)
Charles Irvin, Truck Nutz Project Part 1, 2010. Mixed media, 75 x 53 x 12 in.