Rediscovering Statues

The Alexander Gallery is haunted by the phantoms of the past. I imagine curating a show in a space like this is equivalent to checking in at the Chelsea Hotel, hosting a party at CBGD (impossible, thank you wholesale), or ordering the Bacon Burger at JG Melon. It’s a New York time capsule, nostalgically self-indulgent, and rightly so.

When you inherit a legacy like this, it’s easy to fall into the trap of repetition. At times, the motive behind this repetition is that of pressure, a sense of honor, or frankly, fear — the anxiety about living up to whatever was created before your arrival; the feeling of stepping into shoes too big but wearing them anyway. Sure they might walk you down the same path, but that's precisely the problem. Thus, one needs more than a microdose of either confidence or naivete to escape the dead end.

Chris Lloyd, I Shall Cut Off My Eyelids To See Better, 2024.

Cristine Brache, Blue Mood, 2024.

“You’ve got to have a serious ego problem to own a gallery,” quipped Alexander, ticking off the qualities above. He has an unsanitized perception of himself as a tastemaker. Nevertheless, his indifference prods the question: does every artist embody this trait? Underneath the imposter-syndrome’s standing reservation, which resides in every other creative, hides a desire to be looked at, to be perceived. Is that egoism or is it a survival instinct?

The outcome of the ego is not what defends Spy Project’s arrival in New York. Perhaps it is the fact that Brooke Alexander is indeed Pietro Alexander’s uncle, but it’s also more than that. Truth is that the exhibition stands independently, removed from the pressure of legacy. With ease, the space’s saturated history presents both established and emerging artists. Rooms are filled with creatives united in nothing but their allied urge — “need” as Apple puts it — to leverage the relics of New York’s post industrial landscape and channel it into not only their practice, but into their way of life.

Raymond Pettibon, Untitled (Hitchcock’s “the birds”…), 2024. Untitled (Shall I consider…), 2024.

Katherine Auchterlonie, Feuillet-Beauchamp Notation of a Good Make-Out Session, 2023.

Kay Kasparhauser, Blood, 2024.

It feels like a family affair. The curation isn't trying to overcome some grand endeavour by suppressing the works under an artificial title. "Unrequited" is a title as blank as the gallery’s walls, granting them permission to tickle our thoughts again and again; (almost) all works are alike only in their differences — exception being the artist who sent in doubles, in which case the pieces aren’t neighboring, but placed at a screaming distance across the rooms, perhaps to provoke that very same tickling effect.

Textile collages by Alison Peery talk to Peter Alexander’s turn to velvet from 1984; Montana Simone’s pieces assert authority not only in scale but through their almost aggressive acquisition of steel while Kay Kasparhauser’s medium reads as hair, moss, and “Kay’s blood;”. Malik Al Maliki’s outlandish treatment of woodblocks tempers the violence within Raymond Perribon’s vocal acrylics, whereas within Sasha Filimonov’s panel — reminiscent of domestic Eastern European propaganda — the artist has installed a portable gun, which, when activated, is almost as arresting as the female figures concealed behind the thick layers of wax on Cristine Brache’s works. The effect quite literally blurs the line between dehumanizing and dream state.

Cristine Brache, Purple Bunnies, 2024.

Montana Simone, Choke Collar, 2024.

           Sasha Filimonov, nightlight, 2024.

Unrequited is being at the library but only reading one page in each book. It’s scrolling Netflix but instead of watching one film, you pace through one trailer after the other. It's like being hungover at that brunch-buffet Sunday morning, suddenly finding yourself seated with a plate of croissants, bacon, bananas, strawberries, scramble eggs, yogurt, cream cheese, avocado, pancakes, ryebred, ham, turkey, Manchego, granola and roasted tomatoes…. But does it leave you overfed? Do you walk out feeling nauseous? A group show is always a slippery slope.

Spy Project’s New York debut isn’t mimicry as the mannequins at the flagship next door. It’s not imitating the legacy which it finds itself ensconced, nor is it posing for the sake of being seen. Unrequited sits you down for family dinner, where conversations traverse generations, opinions are opposing, and no one hesitates to voice their views.

Before I left the gallery on Wednesday afternoon, Apple pulled up the window to invite the neighbors smoking on the fire escape across the street to the opening the following evening. They looked like they’ve absolutely nothing in common yet there they were, making sense in one another.

• Photography by Daniel Arnold

Spy Projects, a contemporary art gallery in Los Angeles founded by Pietro Alexander in 2021, is temporarily visiting New York. The exhibition, Unrequited, will be on view through May 31st, 2024, at 59 Wooster Street.