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FIVE MINUTES TO LIVE
Ellen Jong and Yeni Mao 
  
May 1 – June 13, 2021
  
  
New Discretions is pleased to present Five Minutes to Live, a two-person exhibition featuring the work of Ellen Jong and Yeni Mao. This is the second of the Home Invasion Series, staged by appointment only, in a West Village apartment.
  
Though time no longer exists, we are tethered by our personal histories.
  
Using traditional Chinese methods of ink-making as an entry point, Ellen Jong creates sculptural works that reflect on dynamic personal and collective notions of her identity. Process is integral. Chinese ink is ground from solid blocks, adding water to make a liquid. Jong reverses the process, creating liquid ink and then dehydrating it to sculpt malleable solid forms. Her pigmented ink simulates the plasticity of caution tape, yet maintains the capacity to liquefy when exposed to extreme heat or moisture. "In essence, the ink is alive and always has potential to transform," states Jong. The artist has called the ink "a time machine," in that one must go backwards in both history and process in order to move towards the future of the work.
  
Jong's two works, entitled Mirror Mirror (2020), examine the quarrels of time. In the first, the cursive flow remains pristine. In the second—a doppelganger of the original—some of the material's pigment properties have been allowed to seep into its foundation. In both, the background is composed of photographic prints of glowing, red-toned sunsets, captured in Los Angeles during the 2020 lockdown.
  
The sculptural practice of Yeni Mao engages in issues of fragmentation, exploring the subjective body and architecture through restraint, domination and absence. Mao works with agency of materials, objects and building systems, emphasizing the tension between both their embedded and given significance. He refers to his making process as “accessing the lizard brain,” a series of impulses, allowing him to layer his own personal histories over the expansiveness of these concerns.
  
With fig 16.8 salt on my tongue (2019) and fig 11.7 zero leg (2018), Mao builds structures from salt, transformation from soft to hard, making alien forms that project an uncomfortable familiarity.  This is work made by and for the body.
  
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Ellen Jong (b.1976, New York) has a multi-disciplinary practice recognized for using vernacular material and personal history to tackle body, form and place. She launched her career as a photographer, publishing two monographs—Pees On Earth and Getting To Know My Husband's Cock. Solo exhibitions have included Basement 6, Shanghai; Allegra LaViola, New York; and the Vice Flagship, New York. Group exhibitions include Whitney Houston/Every Woman Biennial, LaMaMa Galleria, New York; Current: Abortion curated by Barbara Zucker, A.I.R. Gallery, New York; XXX curated by Mathieu Borysevicz, Bank MABSociety Gallery, Shanghai, China; Self-Publish Be Happy curated by Bruno Ceschel, Micamera Milan, Italy; Toy Box with White Box, Robert Miller Gallery, NY. Her work has been featured in Photograph Magazine, The New Yorker, The Guardian, Foam Magazine, amongst others. Ellen Jong lives and works in Los Angeles and New York.
  
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Yeni Mao (b. 1971, Canada) has been the subject of numerous solo exhibitions, including “vol. 1: cowboys” at guadalajara90210, Guadalajara; “vol. 2: cabal” at PAOS GDL, Guadalajara; “Regatta” at Munch Gallery, New York; “Dead Reckoning” at Collette Blanchard, New York; and “Whiskey Papa” at Zidoun-Bossuyt, Luxembourg. Group exhibitions include “Otrxs Mundxs“ at Museo Tamayo, Mexico City; “Los juegos del capricornio” at Arróniz Arte Contemporáneo, Mexico City; “Luego, la Forma” at Galería de Arte Mexicano (GAM), Mexico City; ”Transnational” at Proxyco, New York; “The Waste Land” at Nicelle Beauchene, New York; and The IX Bienal De Artes Visuales Nicaraguenses, Managua, Nicaragua. Mao has been awarded multiple residencies including Casa Wabi in Mexico, The Lijiang Studio and Red Gate Gallery in China, The Fountainhead Residency in Miami, OAZO-AIR in Amsterdam, and Flash Atöyle in Turkey, and he is a recipient of the Pollock Krasner 2021. His work has been written about in The New York Times, Time Out New York, The Advocate, The Village Voice, and the Bangkok Post. Concurrently, Mao has a solo exhibition “I desire the strength of nine tigers” at Fierman in New York. Yeni Mao lives and works in Mexico City and New York.
  
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Appointments are available daily from 11am – 4pm. For more information or to schedule an appointment, contact: benjamin@newdiscretions.com 
 BREYER P-ORRIDGE/ HEIST
 Candy Factory 2: Coum to Thee Nest
  
 June 9 – July 25, 2021
  
 New Discretions
 76 Bowery, 4th floor
 New York NY 10013
  
 Hours: Wednesday – Saturday, 11 – 6pm
  
  
New Discretions is pleased to present Candy Factory 2: Coum to Thee Nest, an exhibition featuring the collaboration work of the late Genesis Breyer P-Orridge and Eric Heist. On display will be a selection of new, sequentially-ordered, vibrant, silkscreened  gender-indeterminate details of bodies on square surfaces. 
  
Premiered  at New York’s Team Gallery in the year 2001, the initial Candy Factory exhibition marked the first time that Genesis Breyer P-Orridge, the legendary artist/musician/provocateur had presented work in a commercial gallery. Her performance art troupe COUM Transmissions, had already had their first retrospective at the ICA (London) as far back as 1976, but her work was mostly performance or mailart or music—all very hard to commodify. 
  
The forementioned exhibition was a partnership between Genesis Breyer P-Orridge and the artist Eric Heist. At the time, Heist was creating sugar-coated silkscreen paintings of body-related imagery. Breyer P-Orridge was making photographic images of non gender-specific bodies. Heist was also running the non-profit organization, Momenta Art, and both were interested in incorporating context through images that suggested the elision of wealth and poverty, transcending class by moving away from identity distinctions. Bruce Benderson had referenced this impulse in his essay Toward the New Degeneracy just a couple years earlier. 
  
 The result, Candy Factory: pop-infused images and bodies without sex, age, class or race, a symbol for the one as well as the multiple.
  
The name for the project combines Candy Darling and Factory Records, an overlapping art and music.  The duo also added objects of commodity  and desire—sugar candy, mugs, t-shirts with imagery and the Candy Factory logo available for little money. Gift shop items next to work meant to dissolve class through sex was perfect for the art boom of the moment.
  
In 2018, Breyer P-Orridge and Heist began working together again, concentrating on a set of Polaroid images taken in a ritualistic manner Breyer P-Orridge of an unidentified individual or individuals. Brighter, more pop, more abstract, these new works used a simple system, a set of thirty 22-inch square silkscreen on canvas panel works were derived from a Polaroid image of non-distinct nudity. A base color of the six primary and secondary colors (red, violet, blue, green, yellow, orange) was overlaid with the image using the five remaining colors in a sequence through the color wheel. In this manner, process art overlapped with performative ritual. Other sets of sequential color and the rotation of imagery continue suggestions of cyclical movement and continuity within the attraction of bodies to one another. The images and works in this installation all simultaneously exist independently and collectively.
  
In final text messages between Breyer P-Orridge and Heist, Breyer P-Orridge texted in her unique manner: “Spending 5 Daze in the Horse Pistol—Butter Coum to the Nest” (spending five days in the hospital but come to my apartment afterwards).  The continuity of Candy Factory—rotating, changing, moving from red to yellow to blue and back again—follows the continuity of existence itself, reassuring that death is not an end.
  
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Consecutively with this exhibition, we celebrate the launch of NONBINARY: A Memoir (Abrams Press/ June 15, 2021) by Genesis P-Orridge, co-written by Tim Mohr, with an afterword by Douglas Rushkoff.There will be a number of events celebrating Genesis’ legacy, including two book-related events featuring Breyer P-Orridge’s daughter Genesse P-Orridge, Ryan Martin and Douglas Rushkoff; a panel on Genesis visual art, with Eric Heist, Jenny Schlenzka, Benjamin Tischer and Eric Shiner.
  
  
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Genesis Breyer P-Orridge (1950 – 2020) was born in Manchester, England. He/r work has exhibited in museums and galleries across the globe, including the ICA (Philadelphia), The Tate Britain (London, UK); Deitch Projects (New York); The Andy Warhol Museum (Pittsburgh, PA); The Serpentine Galleries (London, UK); MoMA P.S.1 (New York); Mass MOCA (North Adams, MA); Participant, Inc. (New York); INVISIBLE-EXPORTS (New York); Kanal-Centre Pompidou (Brussels) among many others. Her performances, artwork and gender theories have helped shape culture, and inspired innumerable others. The first half of Genesis’ archives are part of the Tate’s permanent collection. 
  
  
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Eric Heist (b. 1962) is an artist who works in multiple media imaging the complexities of power, time and socio-political contradictions. Recent solo or two-person exhibitions include Kanal–Centre Pompidou (Brussels); Field Projects (New York); Galveston Artist Residency (Galveston, Texas) Foundations, Schroeder Romero/Shredder (New York). His work has been included in exhibitions at Participant, Inc., Max Protetch, Ronald Feldman Fine Arts, White Columns, Roebling Hall, NY, Elizabeth Vallaix Gallery, Paris, and the Brooklyn Museum of Art, amongst others.  He is a founder and director of Momenta Art since 1986, a not-for-profit exhibition organization. His work has been reviewed by Holland Cotter and Roberta Smith of the New York Times, William Powhida in The Brooklyn Rail, and Christian Viveros-Fauné in Art in America, among others. He received a Pollock Krasner Award in 2020.
  
  
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New Discretions is a roving curatorial project by Benjamin Tischer of INVISIBLE-EXPORTS. The gallery is located at 76 Bowery, 4th floor, New York NY 10013, directly across from the Manhattan Bridge. Public hours are Wednesday to Saturday, 11am to 6pm, and by appointment. For more information or to schedule an appointment, contact: benjamin@newdiscretions.com
  
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 For space inquiries at 76 Bowery, please contact info@76bowery.com

THINGS ON WALLS

Justin Adian, Walt Cassidy, Peter Clough, Graham Collins, Lucky DeBellevue, Double Vision (Agathe Snow & Marianne Vitale), 
Paul Gabrielli, Christina Kruse, Cary Leibowitz, Jillian Mayer, Robert Melee, Douglas Rieger, Diana Shpungin, Trish Tillman, 
Unknown, Gabriela Vainsencher

AFFECTIVE CARE
Ongoing
By appointment only

https://www.artsy.net/show/new-discretions-things-on-walls
https://brooklynrail.org/2020/05/artseen/Things-on-Walls

Featuring a wide a variety of mediums - ceramics, wood, cast paper, resin, metal, video - 
this exhibition explores sculpture. On walls. We have cheated a little, as two objects utilize shelves. 
And one is floor-based. One is even a painting. Still, they are things on walls.

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New Discretions is an art advisory and curatorial project by Benjamin Tischer of INVISIBLE-EXPORTS. 
Affective Care is a functioning office space, drawing from cutting edge research and developments in multiple fields 
to offer a wide range of services and treatments for psychiatric health, mental well-being, attention, and clear thought.

Visits are by appointment only. For more information, email: benjamin@newdiscretions.com.
 

 

NEW DISCRETIONS

1a: individual choices or judgments left the decision to his discretion
b: power of free decisions or latitudes of choice within certain legal bounds reached the age of discretion
2: the qualities of having or showing discernment or good judgment : the qualities of being discreet : CIRCUMSPECTION especially : cautious reserve in speech
3: abilities to make responsible decisions
4: the result of separating or distinguishing


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