second EDITION


JULY 19 - 22, 2017



Film screening followed by a special live performance of the music from the film,
presented in conjunction with Carter's current exhibition at Casey Kaplan:
The DRAMASTICS & The Fascinators. This will be the only NYC live band performance.

Nathan Carter recently created, wrote, directed and composed music for his first short film called The DRAMASTICS Are Loud. Using hand made paper and wire figures set in dioramas Carter tells a story about four women who finish high school and decide to start a band. They write songs and then go on crazy adventures touring the world in a precarious flying machine and playing their music at live rock concerts before breaking up in Paris France. Immediately following the screenings of the film a real life band of musicians known as the DRAMASTICS REVUE has been performing the music from the film live. The film debuted at the Museum of Contemporary Art in Denver in 2016. This special screening and live band performance at The Chimney NYC is held in conjunction with Carter's current solo exhibition The DRAMASTICS and the Fascinators at Casey Kaplan New York.

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2017. Everything from food and films to drugs and romance is on-demand: out of reality, out of the cinema, into the palm of your hand. We've never been more hyperconnected, but has actual human connection become defunct? How does confronting the millennial, on-demand impulse with the most ancient form of entertainment disrupt our experience of interaction—not only with storytelling, but also with one another?

Blonde-Demand, an immersive performance by artist Lacey Dorn and curated by Roya Sachs, subverts today's addiction to instant gratification by absurdly translating it back into the flesh. Audience members place orders from a menu of iconic blonde films with Emcee Michael Avedon, and Dorn instantly creates a scene from that film.  Performing against a green screen, Dorn is simultaneously projected onto the walls on either side with backdrops from the original film cut behind her. Trapped inside this 270-degree "live Netflix” immersion, the audience must go from observer to participant. At different points throughout the performance, the audience itself breaks the fourth wall by engaging with Dorn “inside” the worlds of the films. Chaos ensues when the banal on-demand experience crosses into the real. Both the quasi-theatrical and the makeshift-cinematic interfaces of interaction, hyper-stimulation and instant gratification force participants to travel quickly between emotions and worlds.

The performance series’s debut, Blonde-Demand re-examines the role of the blonde in cinema. This journey into the absurd looks at classic blonde moments across genres and how they’ve formed our stereotypes in today’s Trump-era popular culture. Michael Avedon will be taking Blonde-Demand menu orders ‪from 7.15pm-8pm.

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‘Everyone at Carrara knows that stone weeps. ... All of us have experienced how alive stones are, that they behave like sponges, can bend, expand and that they have a voice... for one who listens.’ Dominique Stroobant, Sculptor Extracted from Leitch, Alison (2010), Materiality of Marble: Explorations in the Artistic Life of Stone

In The Flesh is a 5-min black-and-white artist film by Adeline de Monseignat inspired by Alison Leitch's text 'Visualizing the Mountain' (2007) about the marble quarry as being 'alive', 'weeping at night' and having a 'soul'. In this mother-to-daughter relationship, the artist plays the role of The Sculpture, of marble skin and human flesh, becoming increasingly more alive, discovering the malleability of her own body, a creature that yearns to reconnect with her roots and crawl back into her mother's womb, the quarry. By bringing to light the quarry’s ability to ‘live’, the film also exposes its potential to ‘die’.

Shot over three days, In The Flesh is set in the dramatic quarries of Stazzema, behind Carrara (Italy) and a marble workshop in Pietrasanta. Outdoor scenes were entirely naturally lit, with an overall ominous feel set by the mist the crew encountered on those days. Shooting in black and white enabled the many textures within the film –veins, hairs, dust and liquids– a much richer, vibrant and tactile feel. The use of a monochrome infrared lens enabled the human skin to look more sculptural, almost translucent. With the aim to strip the film down to its bare essential, it was decided to leave room for the simplicity and purity of silence, along with minimal raw – at times disconcerting – sound effects, punctuated by the sound of human breath, which makes the experience feel more human, internal and intimate. 

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The videos of Anne-Charlotte Finel play with the fringes of urban and pre-urban spaces, and with a mistakenly wild nature. Her work deceives the contradiction between artificial and natural, to reveal a new facet of the world. Jardins offers the viewer a time to contemplate, punctuated by abrupt movements, confounding truth and falsehood. 

In her own words Finel explains: "I have created Jardins in the subway. I have long been fascinated by this underground tropical jungle located on the side of the tracks. It is not accessible, artificial plants are combined with natural ones growing under sodium lamps. The vegetation is animated by the subway's blows, by the variation of colored lamps. I film through the windows and I capture the reflections. Accompanied by electronic sounds, the music emphasizes the artificiality of this beguiling nature.

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This work tells a story of an underground hidden political resistance motivated by geological research. Through the collapse of documents, fiction and biographical elements, the work exists between an emotional and affective narrative, while simultaneously being political and grounded on conspiracy theories about earthquake machines. 

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the artists


NATHAN CARTER  lives and works in Brooklyn NY making sculptures, drawings, films, photographs, prints, jewelry, costumes, music, hats, capes, painted shades, dinners and dancing. HeOther collaborative projects include performing live music and dance with the artists Matthew Ronay and Tony Cox in LOBOTOMAXXX and with the painter Patricia Treib creating skirts and dresses under the name Volly Voila. Nathan Carter is represented by Casey Kaplan in New York City and by Esther Schipper in Berlin.

LACEY DORN is an artist, actress and filmmaker. Her performance and video work has been featured in group shows alongside artists such as Richard Prince, Sebastian Errazuriz and Cory Arcangel. While a member of Bazaar Teens, the Brooklyn-based collective including Dustin Yellin, Andrew VanWyngarden (of MGMT) and Wilmot Kidd, she created several immersive performance/video-scapes. On-stage, she stars in the Ingmar Bergman live-film adaptation of PERSONA, which was developed in-residency at MIT’s Center for Art, Science & Technology and has shown at venues including The Isabella Stewart Gardner Museum and The National Sawdust. While an undergraduate at Stanford, she co-created two documentaries with James Franco. She has since directed, written, produced and acted in narrative films that have screened at film festivals internationally, including SXSW, Sun Valley and Cannes. Her forthcoming starring roles in feature films include Christopher Coppola's Torch and John Buffalo Mailer & Charles Kopelson's The Jingoist.

ROYA SACHS is an independent curator and creative director living in New York. She is currently Curator of Lever House Art Collection. She grew up in London, studied at NYU, and has since worked at the MoMA and Sotheby's, as well as put together shows for companies such as Performa, Gertrude, Mana Contemporary, BOSI Contemporary Gallery, Gerson Zevi Gallery, and LAMB Arts. Her curatorial pursuit involves the combination of mediums, ranging from technology, new media, photography, lighting, literature, and environmental installations, with a strong emphasis and specialty in performance. Her aim is to create unconventional, immersive and experiential art shows. She sits on the Board of Directors at Performa, is Co-Chair of the Performa Visionaries, a founding member of the Dia Beacon Contemporary Associates, as well as an active committee member of UNICEF’s Next Generation. Her features and published works range from Vogue Magazine, ArtNet, W Mag, Artsy, to Avenue Magazine, Wallpaper, The Coveteur, and Cultured Magazine, to name a few.

ADELINE DE MONSEIGNAT (b.1987) is a London-based multidisciplinary visual artist. Her research and work are a testimony to her interests in birth, nature and bringing the inanimate to life. These themes are dealt with in her works with organic, sensual, strong yet vulnerable materials such as fur, earth, eggshells, fabric and marble that aim to echo the human body’s qualities and potentialities. The artist has a BA in Language and Culture, UCL (2009), and an MA in Fine Art, City & Guilds of London Art School (2011). Selected exhibitions include: 'UK/raine' at Saatchi Gallery (2015), ‘Whispers’ curatorial project at Ronchini (2015), 'Home' solo show at Ronchini (2014), 'Time to Hit the Road' at Leila Heller, New York (2014), ‘Articulate’ at Victoria Miro (2013), ‘The London Project’ curated by Gerson Zevi at Yorkshire Sculpture Park (2013), ‘The Uncanny’ curated by James Putnam at Ronchini (2013), 'Dead Inside' at Bleecker St Arts Club, New York (2013), 'The Future Can Wait' at Victoria House (2013), 'Dividing Line' curated by Sumarria Lunn at High House (2012), 'The Threadneedle Prize' at the Mall Galleries (2012). Selected prizes include: Royal British Society of Sculptors Bursary Awards (2013), Fack West London Art Prize (2013), The Catlin Art Prize (Visitor Prize Winner, 2012) and Arcadia Missa Gallery Prize (2011)

CONSTANZA ALARCÓN TENNEN (b.1986, Santiago, Chile) is a multidisciplinary artist.
Her work includes sound installations, videos, sculptures and performances, among other media. She graduated from Universidad Católica de Chile in 2009 and from Yale University in 2015. Constanza is a founding member of Colectivo Grupo < >, an organization of female
artists connected to the Americas. Her work has been shown internationally in group and solo exhibitions and she recently was an artist in residence at the AIM program at the Bronx Museum.Constanza lives and works between Santiago and New York.

ANNE-CHARLOTTE FINEL (b. 1986, Paris, France) completed her MA at the Beaux-Arts de Paris (2010). Finel is represented by the gallery Jousse Enterprise, Paris. Finel's work was featured in notable group exhibitions including Les maîtres du désordre (2012), Musée du Quai Branly, Paris, France; Nuit Blanche (2015), Paris, France; Le parfait flâneur (2015), Palais de Tokyo, Halle Girard, Lyon, France, Le monde est empli de résonnances (2017), Palais de Tokyo, CMN, Chateau de Villeneuve-Lembron, Franc; LOOP Fair 2017, Galerie Jousse Entreprise, Barcelona, Spain; De Bruits et de Mouvements, Videobox festival, curated by Odile Burluraux and Corentin Hamel, Carreau du Temple, Paris.
She has been awarded artist residencies at the Centquatre, Paris, France (2014), at the Cité internationale des Arts, Paris, France (2015-2016), and at Tabakalera, San Sebastian, Spain (October, November 2016). She has been awarded received Prix vidéo de la Fondation François Sommer, Paris, France and Prix du Conseil Départemental des Hauts-de-Seine at Salon de Montrouge, France. In 2017, Finel will have a solo exhibition at Galerie Édouard Manet de Gennevilliers, France and at Jousse Entreprise, Paris in March 2018. Her work will be featured from August 8 - September 3 in "The Player, WILD Wild wild" at FRAC Poitou-Charentes / Angoulême, France.