“We actually made a map of the country, on the scale of a mile to the mile!”

“Have you used it much?” I enquired.

“It has never been spread out, yet,” said Mein Herr: “the farmers objected: they said it would cover the whole country, and shut out the sunlight! So we now use the country itself, as its own map, and I assure you it does nearly as well.”

—Lewis Carroll, Sylvie and Bruno Concluded (1893)

From our current vantage point in history, if ever a modern-day map to end the world began, surely it must have been in 1991. The public release of the World Wide Web. The start of the first Gulf War. The dawn of the screen as the new-age information mapping mechanism. The image in advance of the actual. Using the technology, politics, culture, and music of this one year as her constraint (as well as personal history), Austin-based artist Lauren.Klotzman re-maps layers of history that were always connected, but rarely acknowledged as such. With the remove and perspective of the present day, using found video and audio footage, Klotzman reveals the tragic, confounding, and darkly humorous layers of our recent past.

Along with a selection of other new short-form works referencing 1991, Klotzman will premiere a new film as a solo projection at Permanent.Collection. In an elegiac turn, Klotzman juxtaposes video documentation of Whitney Houston singing the national anthem at the 1991 Super Bowl—an iconic piece of American propaganda—with live footage from the eerie heads-up display of an F16 fighter pilot engaged in action during the 1991 Persian Gulf Conflict. Using contextual juxtaposition and dramatic time-manipulation, the content is climactic but distorted, coming into sharp contrast at key moments both disturbing and dizzying.

Chicago-based artist Lauren.Anderson is fluent in the language of comedy, and has a keen eye for of all that is weird in material culture. In work often playful and deadpan, Anderson uses the structure, set-up, and reveal of comedic form simultaneously in print media, painting, sculpture, and participatory installation. She revels in the formal properties of goof, gaff, and gag, often riffing on the exhibition space as the lead-in to a punch line.

Each project of Anderson’s functions individually, however, it’s important to understand the range of her use of humor throughout her career. For example, she has printed subtle zines deconstructing Rowan Atkinson’s theories on the mechanics of humor; revised Louis Safian’s 2000 Insults for All Occasions from a painter’s perspective; and organized a bound collection of photos documenting top-notch “face plates” (anthropomorphizing leftovers). In one installation she created a ramshackle functioning coffee bar, the set for a wall of colorful monoprints riffing on the yin-yang and a suite of chunky, inside-out ceramics. She sets up stands in MegaMalls, hawking flea-market oddities interspersed with goodies like her hand-decorated, tourist-style XXL t-shirts (faux bikinis and palm-tree-sunsets abound). In another exhibition she displayed an entire body of work, black-and-white, printed onto one seamless sheet of paper cut to the exact size of the gallery’s walls.

Taking the reality of Permanent.Collection’s exhibition space to heart—a small house with limited storage—Anderson will present the elephant in the room, a comically-large tote bag filled to the brim with all the living room furniture normally hidden away during exhibitions. In the spirit of other containers of mysterious internal capacity— clown cars, Mary Poppins’ furniture-wielding carpetbag, Felix the Cat’s magic bag of tricks, or indeed, Dr. Who’s TARDIS—this icon of art world commercialism, a canvas for any logo, a purse for every capitalist millennial, is an apparatus that categorizes what it contains, and in turn conceals its contents.

Please join Permanent.Collection for the opening reception on Sunday, January 10th from 3-6pm. “A Woman’s Taste in Music,” Lauren Anderson’s new mixtape featuring Martin Kippenberger singing Whitney Houston, will be on rotation during the reception. For the closing event, a separate karaoke celebration of music from 1991 will take place on Sunday, January 31st (offsite, email permanentcollectiongallery [at] gmail [dot] com for details).


Born = Chesapeake, Virginia (1983)

Lives = Chicago, Illinois

BFA = School of the Art Institute of Chicago (2006)

MFA = Bard College (forthcoming, 2017)

See More = http://www.mixedmediarecordings.com/mixes/lauren-anderson



Born = Victoria, Texas (1987)

Lives = Austin, Texas

Education = BA Sarah Lawrence College (2012); Summer Writing Program, Jack Kerouac School of Disembodied Poetics (2012–2015)

Work = Curator/Gallery Director, Museum of Human Achievement, Austin

See More = http://netdotcomdotnetdotcomdotnetdotcom.biz/