Dear Shaded Viewers,
Candy Factory 2: Coum to Thee Nest, an exhibition including the late Genesis Breyer P-Orridge and Eric Heist’s collaborative work, is on view at New Discretions, 76 Bowery, 4th floor. A variety of fresh, sequentially-ordered, colorful, silkscreened gender-indeterminate body elements on square surfaces will be on exhibit. The first Candy Factory exhibition, which debuted at New York’s Team Gallery in 2001, was the first time Genesis Breyer P-Orridge, the iconic artist/musician/provocateur, has shown work at a commercial gallery. COUM Transmissions, her performance art ensemble, had already had their first retrospective at the ICA (London) in 1976, but her work was largely performance, mailart, or music, all of which were difficult to commodify.
Eric Heist and Genesis Breyer P-Orridge at Centre of Attention, London.
Genesis Breyer P-Orridge and artist Eric Heist collaborated on the aforementioned show. Heist was doing sugar-coated silkscreen paintings with body-related themes during the time. Breyer P-Orridge was photographing corpses that were not gender-specific. Heist was also the founder of Momenta Art, a non-profit organisation, and both were interested in infusing context through pictures that represented the erasure of riches and poverty, transcending class by removing identification disparities. Just a few years before, Bruce Benderson had mentioned this desire in his article Toward the New Degeneracy. Candy Factory is the result: pop-infused pictures and bodies that are devoid of sex, age, class, or race, serving as a symbol for both the one and the many. Candy Darling and Factory Records are combined in the project’s name, resulting in an overlay of art and music. Sugar candy, mugs, and t-shirts with graphics and the Candy Factory logo were among the commodity and desired items introduced by the partnership. Gift store products near work, designed to dissolve class via sex, were ideal for the current art boom.
BREYER P-ORRIDGE/Eric Heist, Genesis 33 33 6, 2020,
Silkscreen on canvas panel, 33 x 33 x 1.5 in each (83.8 x 83.8 x 3.8 cm each)
Breyer P-Orridge and Heist reconnected in 2018, focusing on a series of Polaroid photographs of unnamed people or persons shot in a ritualistic fashion by Breyer P-Orridge. These new works employed a basic system: a set of thirty 22-inch square silkscreen on canvas panel works that were produced from a Polaroid image of non-distinct nudity, making them brighter, more vibrant, and more abstract. The image was layered with the five remaining colors in a succession across the color wheel over a base color of the six primary and secondary colors (red, violet, blue, green, yellow, orange). Process art and performative ritual collided in this way. Other color sequences and visual rotations continue to depict cyclical movement and continuity within the attraction of bodies to one another. The photographs and works in this exhibition exist both individually and collectively at the same time.
“Spending 5 Daze in the Horse Pistol—Butter Coum to the Nest” (spending five days in the hospital but come to my apartment afterwards). Breyer P-Orridge sent in her trademark style in her final text messages to Heist. Candy Factory’s continuity—rotating, morphing, and shifting from red to yellow to blue and back again—follows the continuation of existence itself, ensuring that death is not the end.
New Discretions will also be celebrating the release of Genesis P-NONBINARY: Orridge’s A Memoir (Abrams Press/June 15, 2021), co-written with Tim Mohr and with an afterword by Douglas Rushkoff, which coincides with this exhibition. Several events honouring Genesis’ legacy will be held, including two book-related events starring Breyer P-daughter Orridge’s Genesse P-Orridge.
More information will be available on Instagram.
Books will be available for purchase at the exhibition.
Genesis Breyer P-Orridge (1950 – 2020) was born in Manchester, England. Her work has been exhibited in museums and galleries across the globe, including the ICA (London), 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.
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 organisation. 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.
New Discretions is a roving curatorial project by Benjamin Tischer of INVISIBLE-EXPORTS. The exhibition 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: firstname.lastname@example.org
For space inquiries at 76 Bowery, please contact email@example.com