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December 30th, 2014:

I'm writing this hundreds of feet above sea level...or is it thousands? It's always been difficult for me to understand vertical distance. They say if you were to drive at freeway speeds directly up you would be in space in less than an hour. I know that I'm in seat 25B. When I got onto this plane I thought that would mean I would be in a middle seat but I'm actually on the
aisle. I know that the plane is heading westward.

In December of 2013 I sent a fb message to my roommate in Chicago, "hey, let's open up a exhibition space in the front room." Without any real understanding of what this would mean I was given permission to use the living room and Sunday Project was born. Within a month I held the first exhibition, Tentatively Titled, a title that admitted to the potential fluctuation and the need for flexibility. It was a group show connecting artists from my past in San Diego and then present home, Chicago.

[ ... ]

I'm sitting on the beach; it's not particularly warm. Despite the tales, it's not exactly beach weather year round in San Diego. It's been one year since I first asked Andrew for permission to open a space. Sunday Project now finds itself in a new phase one year later, as an exhibition series on the beach in San Diego under a 10x10 pop-up canopy with a new moniker, SPF15 Exhibitions or Sunday Project for 15 Exhibitions. Again I dive in head first with curiosity and knowing it will be a project of experimentation; a lab.

This might be a rambling. One page might not be enough space to explain and see through what I hope to achieve within this space. SPF15 is both a project space and social artwork that will inhabit the beaches of San Diego for nearly two years. It's nomadic and amorphous. It functions as a meeting ground between San Diego's dominant culture and the supposed high culture of the art world, of land and sea, of labor and leisure, and of art and experience. The beach becomes a materialization of an idea that authority over visual culture doesn't simply need to be confined to the white walls of an institution or in the hands of the established aesthetic executives. Without those borders what does the art space look like? How does it function? How can we, together, envision the dematerialization of aesthetic authority?

Sitting here at the beach I stare off into the unknown. Being a native San Diegan there's a comfort in the vastness of the empty ocean that I've unwittingly missed. There's a freedom looking out beyond the last stretch of land into seemingly unending depths and distances searching for meaning with the crashing of each wave.

Tim Mann, Beach, audio loop (15 minutes), 2015



My mind is haunted by my mind.

I touch my toes. Doctors say: there’s a lot
going on under the surface even though
everything feels so light. The pipe, for example,
is 78’ deep to the well.

Various apparatus excavate my skeletal
system and other systems. And memories and
other emissions emerge. Including desire. I
hear a pop.

Lipstick drips from my hips to my eye-holes.
And the wallpaper is peeling. And so am I.

And the audience’s immobile reaction is
incongruous with the performed action.

I suppose something had to happen to my
body to realize I had one.

*+* text by Kim Schreiber *+*

Tanya Brodsky received her BFA from RISD (2005) and is currently an MFA candidate at UC San Diego. Brodsky’s work has been exhibited at Vacancy LA, Actual Size, Commonwealth and Council, Elephant, and New Wight Gallery (all Los Angeles) ; Bizkaia Aretoa in Bilbao, Spain, and Alternativa Once in Monterrey, Mexico. Brodsky has created a temporary installation for the LAX Art Garden Party in Beverly Hills, as well as interactive environments at the REDCAT auditorium, and the Bushwick Starr theater in New York.

Sofía Londoño received her BFA from New World School of the Arts in Miami in 2008 and her MFA from USC in 2015. Her work has been exhibited at Romer Young Gallery (San Francisco), UCLA New Wight Gallery, Gayle and Ed Roski Gallery, Bolsky Gallery (all Los Angeles, CA) and GLAMFA (Long Beach, CA).

Ellen Schafer attended the Roski School of Art and Design at the University of Southern California from 2014-15 and received a BA from the Glasgow School of Art in 2012. Her work has been exhibited at OK Corral (Copenhagen, DK), CirkulationsCentralen (Malmo, SE), Park View (Los Angeles) and Shanaynay (Paris, FR) and will be included in upcoming exhibitions at Actual Size and PSSST! (both Los Angeles). She is currently working towards the production of Slow Leak, an artist book to be published by Bukow Press in 2016.


Sunday Project
Morgan Mandalay