V. Arkhipov is thin and stubborn and unpublished. He has always been confused by man’s tendency to dress his leaders up like gods. Halos frighten him as do talk of rugged individualism, spectator sports, and atomic bombs saving lives. He can’t help but wonder about men who claim to speak for the masses. He is completely willing to admit that this confusion and fear may stem from his lack of education and moral fiber. Most of his conversations end with sighs and shrugs. 


Some have said that V. Arkhipov just doesn’t get it. He does not deny this charge. He shrugs. 


As a man so far removed from reality and good taste, V. Arkhipov has been called many things:


He has been called a Bolshevik.


He has been called a plagiarist.


He has been called a pornographer.


He has been called a spy.


He has been called an opportunist.


He has been called a threat to religious liberty.


He has been called a pervert. 


He has been called a Tory.


He has been called a utopian.


He has been called a ‘policy wonk’.


He has been called the privileged elite. 


He has been called a queer.


He has been called an anarchist. 


He has been called ‘a person of interest’.


He has never been compared to a bald eagle or a mountain or a battle ship or a shepherd or a lantern or a working-class boxer who defies the odds.


When asked what it means to be an American in 2017, V. Arkhipov responded: “To blindly subscribe to the notions that all dogs go to heaven and that poor people just need to work harder”.

Opening Reception Saturday, June 3rd 2017 from 8pm-12am. On view through July 3rd by appointment.



On the ocassion of the show’s opening, viewers were presented with a performance based installation constructed within the bounds of a social experiment. The primary gallery contained over 130 individual works of digitized assemblage, suspended from the ceiling at various heights which were available for patrons to take home with them free of charge. The specificity of the installation design was intended to evoke the temporal nature of socially minded internet exchanges, while providing a physical token of the experience. This was done in order to add a tangible gravitas to the ephemeral nature of a shared memory. The aesthetic nature of the individually suspended works themselves, which were largely sourced from a combination of political pamphlets and current events publications provided a decidely anti-capitalist stance that supported the Marxist spirit of the installation.

     As viewers moved beyond the initial piece and into a lounge area, they were greeted by an additional space, obscured by black curtains and manned by an armed guard.

All of the work presented beyond this threshold was available for purchase, but only after the interested party agreed to a $20 viewing fee were they allowed to enter the secondary space. The works displayed within represent a variety of media and installation elements that examine and analyze the multi faceted nature of contemporary art practice through the re-emergence of established processes recontextualized. The nature of the works themselves question the validity of the modernist hegemony in contemporary collecting by utilising in their construction themes of frailty, the conceptual/tangible object presentation dichotomy, and the value of thought forms as a medium in relation to the art object as an archival investment.