Bradford Kessler - ANXIETY SOCIAL CLUB, ASHES/ASHES

Installation view, Bradford Kessler, ANXIETY SOCIAL CLUB, Ashes/Ashes

Installation view, Bradford Kessler, ANXIETY SOCIAL CLUB, Ashes/Ashes

Installation view, Bradford Kessler, ANXIETY SOCIAL CLUB, Ashes/Ashes

Installation view, Bradford Kessler, ANXIETY SOCIAL CLUB, Ashes/Ashes

Bradford Kessler, Soft-Bodied Story, 2015

Bradford Kessler, Soft-Bodied Story, 2015

Installation view, Bradford Kessler, ANXIETY SOCIAL CLUB, Ashes/Ashes

Installation view, Bradford Kessler, ANXIETY SOCIAL CLUB, Ashes/Ashes

Bradford Kessler, Maybe It’s Only Us, 2015 

Bradford Kessler, Maybe It’s Only Us, 2015 

Installation view, Bradford Kessler, ANXIETY SOCIAL CLUB, Ashes/Ashes

Installation view, Bradford Kessler, ANXIETY SOCIAL CLUB, Ashes/Ashes

Bradford Kessler, 24HR Fossil (for Xenobia), 2015 (detail)

Bradford Kessler, 24HR Fossil (for Xenobia), 2015 (detail)

The ruling ideology today is basically something like a vague hedonism with a Buddhist touch. 
Slavoj Žižek

ANXIETY SOCIAL CLUB follows up Kessler’s exhibitions Land Lords at MonCHÉRI, Brussels (2015), and Finally Every Dimension of the Soil at American Medium, New York (2015). Abstract, anti-romantic notions of revolution and chaos in both society and nature pulsate across the exhibition’s dark ecological synapses. Through a toxic yet innocent transformation of the gallery space, Kessler aims to enable the viewers to apprehend an inner child at the core of the entropic world he depicts. At the center of the space stands David (2015), a young boy protected only by a child- sized, bullet-proof vest and an arm-strapped blade gazing into the mouth of a giant beast. A billboard advertises a Lord of the Flies like vacation with a dirt road leading to a land of suspicious imaginary friends and gerontophilic Googling babies. In the Belly of the Gar (2015), a minimalist chamber modeled after deep-sea exploration equipment holds the decapitated head of a possessed Chucky doll resting on a tall African drum overlooked by two kneeling angels on bongos. A catastrophic symphony of shifting childhood imagination and political ideology are submerged together in a watery grave of art production and entertainment industry processes. Kessler’s genre of Žižekian horror explores, if not celebrates, the violent beauty of man’s natural descent into savagery and the psychoticism lurking beneath individuality and group thought. 

The exhibition also features works by Dylan Abel, Michael Assiff, Korakrit Arunanondchai, Jeff Baij, Ivana Basic, Tony Hope, Ajay Kurian, Maggie Lee, Kristin Smallwood and Yasmeen Sudairy.

Contribution by Domenico de Chirico.

Bradford Kessler - ANXIETY SOCIAL CLUB
ASHES/ASHES, September 19 - October 30
www.ashesonashes.com