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Arranging Tangerines Episode 29 - A Conversation with Maria Gabler
5 Plays2 years ago
In this weeks episode, artist Maria Gabler walks us through her solo exhibition titled 'TRAMA' at PROXYCO Gallery located in Manhattan's Lower East Side. The show runs through July 20th - go see it!
María Gabler (b. 1989) earned her BFA from the Catholic University of Chile and MFA in Visual Arts from the University of Chile. Gabler has exhibited extensively in Chile, including the solo shows “La Ventana” (2022) at Galería Gabriela Mistral, “Anfibia” (2021) at MAM Chiloé, “La Galería” (2017) at Sala de Arte CCU, and “Mirador” (2015) at Galería Tajamar. She has also participated in several group exhibitions in spaces such as Matucana 100, Galería D21, Galería Macchina, Galería Local, and Museo de la Solidaridad, among others. Her work has been recognized with the Sustainable Pavilion Award from the National Council for Culture and the Arts of Chile at ChACO Fair 2011; FONDART 2015, 2017, and 2020; Third Place in 2015 and First Place in 2021 in the CCU Art Fellowship and the Ca.Sa Foundation/Collection Award 2021, among others. In addition, since 2020, she has been part of the National Collection of Contemporary Art of Chile at the NationalCenter of Contemporary Art in Cerrillos.
PROXYCO presents the works of emerging and mid-career artists from Latin America.
Through exhibitions with artists that we represent as well as collaborations with galleries from Latin America and beyond, we aim to advance the understanding of work by artists of Latin American descent in an international art context. For PROXYCO, the term “Latin American” is not an essentializing classifier, but rather a fluid framework to value and engage with art that is informed by both a distinct cultural heritage and an ever-widening global perspective.
Located in Manhattan’s Lower East Side, PROXYCO was founded by Alexandra Morris (b. Mexico City) and Laura Saenz (b. Bogota).
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Transcript
Introduction to Arranging Tangerines with Alessandro Silver and Joseph Wilcox
00:00:03
Speaker
Welcome to Arranging Tangerines, presented by Lady and Stater.
00:00:05
Speaker
Conversations with contemporary artists, curators, and thinkers about the intersection of art, technology, and commerce.
00:00:10
Speaker
Your hosts are me, Alessandro Silver and Joseph Wilcox.
00:00:13
Speaker
I don't know what to do.
00:00:15
Speaker
I don't know what to say.
00:00:17
Speaker
I just know I don't want to be like you.
00:00:20
Speaker
I don't know what to do.
00:00:22
Speaker
I don't know what to say.
00:00:23
Speaker
I just know I don't want to be like you.
Interview with Maria Gabler
00:00:34
Speaker
This week's guest is Maria Gabler.
00:00:37
Speaker
I don't want to make you nervous.
00:00:39
Speaker
It's just audio.
00:00:41
Speaker
You know what though?
00:00:41
Speaker
I heard recently that audio is the most intimate medium ever invented.
00:00:48
Speaker
But it's like someone talking to you.
00:00:51
Speaker
It's a little bit more intimate than TV.
00:00:54
Speaker
Yeah, probably.
00:00:55
Speaker
Yeah.
00:00:56
Speaker
Because, yeah, probably if there were a camera here, I will be even more nervous than now.
00:01:03
Speaker
Yeah.
00:01:04
Speaker
So only audio.
Exploring 'Drama': Threads and Storytelling
00:01:06
Speaker
We're lucky enough to be talking to Maria Gabler at her solo show here at Proxico in Lower East Side Manhattan.
00:01:14
Speaker
Congratulations.
00:01:15
Speaker
Thank you.
00:01:17
Speaker
Can you tell us a little bit about the show?
00:01:21
Speaker
The show is called Drama, which is a Spanish word.
00:01:28
Speaker
It's interesting for me because drama in Spanish have like two different meanings.
00:01:36
Speaker
It's like the threads in a, how you say, in a fabric, like the horizontal threads are the drama.
00:01:49
Speaker
And also drama is like the plot of a story.
00:01:56
Speaker
So I like that relation and the relations that you can make.
00:02:01
Speaker
with that word, with my work, which is not really evident, but you can start thinking about other things because of it.
00:02:16
Speaker
So I like that.
00:02:19
Speaker
The exhibition...
00:02:23
Speaker
Maybe you can divide it in three parts, but I think that they are all part of one work.
00:02:33
Speaker
Yeah.
00:02:35
Speaker
They are not like separate works for me.
The Exhibition's Structure: Mesh and Space
00:02:38
Speaker
But the first part is this space that is surrounded by a mesh, which is the kind of knitting that they use in the scaffolding in the city.
00:02:56
Speaker
this black knitting with orange stripes.
00:03:05
Speaker
And inside the space that is limited by this mesh, there is a model of the gallery space.
00:03:18
Speaker
And this model, I didn't do it.
00:03:23
Speaker
It was made by another artist and is actually the model that they have in the gallery to lend to the artist to plan their work.
00:03:37
Speaker
So it has been here for a while in the gallery, like...
00:03:43
Speaker
being hand by hand of different artists using it.
00:03:48
Speaker
And that's like the first part of the exhibition.
00:03:54
Speaker
So you can see this model from the outside of the gallery, from the street through the window.
00:04:00
Speaker
And inside you have this view of the model through the match.
00:04:08
Speaker
So you can't really see it
00:04:11
Speaker
directly.
00:04:13
Speaker
If you want to see it, you have to go out of the gallery, but then you are out of the gallery, so you can't see it again directly.
00:04:26
Speaker
And then the match also obliged the viewers to go through a little narrow space in the gallery.
00:04:41
Speaker
so it's a little uncomfortable maybe I don't know if that's the best word but
00:04:47
Speaker
Yeah, it's like a narrow space and you have to go through it if you want to see the rest of the exhibition.
00:04:55
Speaker
So you have to be really near the match, which is something that you usually see not that near.
00:05:07
Speaker
It's something that you in the city see always like very far away or if it is close to you, you don't want to be close to it.
00:05:18
Speaker
Then in the second area of the gallery you have a video.
00:05:27
Speaker
Maybe we can walk away.
00:05:28
Speaker
Let's do it.
00:05:43
Speaker
So then you have a video and also an object.
00:05:49
Speaker
This object was made with wood, with plywood.
00:05:55
Speaker
And it's again like a model of the shape of the gallery.
00:06:03
Speaker
and that model I put inside of it asphalt, these little stones of asphalt that you see in the streets that they use to fix the potholes.
00:06:22
Speaker
and the video what it shows is this model filled with the asphalt and how the asphalt came out of the model and collapsed and then you have the empty space of this gallery shape and
00:06:51
Speaker
And yeah, you have in the opposite world, this empty shape made in plywood.
00:07:00
Speaker
And in this, like the third part maybe, is a little picture of the...
00:07:15
Speaker
of the model, the original model, in the subway.
Symbolism: Asphalt Collapse and Scaffolding
00:07:20
Speaker
And this picture was taken when I took the model from the gallery and I took it to my studio.
00:07:34
Speaker
So I think
00:07:37
Speaker
Everything started maybe at that point when I took this thing and put it into the street, like outside the gallery space and realized that it was an interesting object, like the shape.
00:07:56
Speaker
Yeah.
00:08:00
Speaker
So that's the picture.
00:08:03
Speaker
And oh, there is also this little piece there, which is, it was like the tool that I use
00:08:17
Speaker
in the process of the asphalt, like filling the model with the asphalt.
00:08:27
Speaker
So it's like a little piece of wood that have like a stick in it, all the rest of asphalt.
00:08:43
Speaker
So I liked the idea of having this little object that you don't know where it comes from, but at the same time it makes you feel that it has some relation with the other parts of the work.
00:08:59
Speaker
So you start thinking about what is this and why is it here?
00:09:06
Speaker
why it's so important to be here.
00:09:08
Speaker
Yeah, I think that's all.
00:09:15
Speaker
Well, thank you for that.
00:09:18
Speaker
I have some questions, if you don't mind.
00:09:21
Speaker
Questions?
00:09:22
Speaker
Questions?
00:09:22
Speaker
Yes.
00:09:24
Speaker
If we can move over here.
00:09:25
Speaker
So I know from talking to you in previous materials, from building materials and from construction, it's very important to you because there are
00:09:35
Speaker
I think you said they allude to being open.
00:09:39
Speaker
You can recycle them afterwards.
00:09:41
Speaker
You can, it's almost like, uh, I don't know.
00:09:46
Speaker
When I, when I see, when I see construction sites, I don't know if they're going up or coming down.
00:09:51
Speaker
Like they look like ruins at the same time as they're being built.
00:09:56
Speaker
Um, and then this mesh
00:09:59
Speaker
signifies danger, like you were saying, like keep away, but it's also keeping you from accessing the model in the middle.
00:10:08
Speaker
Almost like a, I don't know, some strange, I almost got like a strange, like mausoleum, like almost like a cemetery or something like, I don't know, but if you could talk a little bit more about your process about coming up with this.
00:10:24
Speaker
Well, I think the decision of using the match was related with what I saw in the city, like to be always seeing all these buildings,
00:10:42
Speaker
like with the match that didn't allow me to actually see the building.
00:10:51
Speaker
So I was really impressed by that.
00:10:57
Speaker
or maybe shocked, like, I want to see this building, but I can't see it because it is always with this thing.
00:11:08
Speaker
So I was very interested in that.
00:11:12
Speaker
I even started to read a little bit about it, and it's a big issue, the thing of the scaffolding here in New York.
00:11:27
Speaker
So, yeah, it's like all of the things that you can relate with that.
00:11:34
Speaker
It's interesting that the fact that you have buildings that have been with scaffolding for years, like five, ten years, because it's cheaper to keep them in that way than fix them.
00:11:55
Speaker
So it's...
00:11:58
Speaker
It's kind of, it's something that you can relate with other things out of the art world, but also with things in the art world.
00:12:13
Speaker
Like, yeah.
00:12:17
Speaker
I also, the model, it's funny, and I know...
00:12:21
Speaker
you're probably well aware of this, but the fact that it's a model of the space laying down, but when sitting up, it looks like a structure signifying like a building or something.
00:12:32
Speaker
So it's like, it's almost doubles as floor plan and like a skyscraper as well.
00:12:40
Speaker
Yeah, it's interesting that some people have told me that it seems like the new museum.
00:12:48
Speaker
So it's really funny.
00:12:50
Speaker
You have this shape that you can think about it like a building.
00:12:57
Speaker
Also, it has something beautiful, like you can see it and think it's like an abstract
00:13:05
Speaker
So I think that's something that was interesting for me too.
00:13:14
Speaker
The fact that it wasn't that evident that it was a model.
Narrative Layers: Gallery Model and Video Integration
00:13:23
Speaker
Also, that it's not really obvious when you see it that it's the model of the gallery.
00:13:31
Speaker
because the shape is so like, how you say, like tricky in some way, that when you are inside of the space of the gallery, you don't see it in that way.
00:13:47
Speaker
Like you don't think it's that shape, that weird shape.
00:13:53
Speaker
So the fact that you at some point of seeing the exhibition
00:13:59
Speaker
realize that the model is actually the model of the gallery is something that is interesting to me too.
00:14:07
Speaker
Yeah, because it gives you a different relationship to walking into the space once you realize that this is the shape.
00:14:14
Speaker
Yeah, in the opening, some people had to go out the gallery and see it again.
00:14:24
Speaker
Like, oh, really?
00:14:25
Speaker
It's the space of the gallery.
00:14:27
Speaker
So now I see it in a different way.
00:14:31
Speaker
And I think that is something...
00:14:36
Speaker
in my work that I have been working on, like the possibility of seeing the space in a different perspective or having a different experience of the space.
00:14:52
Speaker
So, yeah.
00:14:54
Speaker
Yeah, having seen a lot of your work previously, you do have a penchant for finding a small detail, the overlooked detail that maybe a lot of people don't think about.
00:15:06
Speaker
And then just focusing on that and that opens up a whole new kind of like dialogue, whether it be the space or the history of the actual site.
00:15:15
Speaker
But yeah, it's one of the more enjoyable aspects of seeing your work.
00:15:20
Speaker
Thank you.
00:15:22
Speaker
And what about the video?
00:15:23
Speaker
How long is it?
00:15:24
Speaker
It's like 12 minutes, I think.
00:15:29
Speaker
And the thing is that it has a special rhythm, maybe.
00:15:35
Speaker
So at the beginning, you might think that is a picture.
00:15:39
Speaker
It's like you don't even notice that.
00:15:43
Speaker
There is movement there.
00:15:47
Speaker
Just like now you saw a little stone fall.
00:15:52
Speaker
But it's like, really?
00:15:54
Speaker
That happens?
00:15:56
Speaker
And then at some point the whole thing collapses and falls.
00:16:02
Speaker
And that part is very quickly.
00:16:05
Speaker
So those 12 minutes are very different.
00:16:12
Speaker
like it's it's a long video maybe but it's very different in in every minute of it i think was this shot in your studio yes yes
00:16:25
Speaker
And did you do it multiple times or was it the one time?
00:16:29
Speaker
Yeah, I think I made, I don't know, almost 10 videos.
00:16:36
Speaker
It was difficult to choose one and to have the result that I was hoping because...
00:16:51
Speaker
Each one was very different.
00:16:53
Speaker
And I started to realize that the way I feel the model have a big...
00:17:09
Speaker
a big impact in the way that the thing collapsed.
00:17:14
Speaker
So, yeah, it was very experimental, I think.
00:17:21
Speaker
That is something very new for me because I think I am not that experimental.
00:17:27
Speaker
So you think.
00:17:29
Speaker
Yeah.
00:17:31
Speaker
with materials.
00:17:33
Speaker
It's not something that I usually do.
00:17:37
Speaker
So I like that it's something new for me and I think that is related with the fact that I have a studio here which is something new for me too.
00:17:56
Speaker
Like before all of this, I have never had a studio.
00:18:04
Speaker
So I think that's why this exhibition is a little bit different from the other exhibitions that I have made in the past.
00:18:15
Speaker
So it gave you more room to experiment, having that space to kind of just play around with?
00:18:21
Speaker
Yeah, it was more like I felt of light to do something in the studio.
00:18:30
Speaker
I usually work in my computer a lot, like making the digital models of my projects.
00:18:42
Speaker
And here in the studio, it was like, okay, I have all this space and resources.
00:18:51
Speaker
I should do something with it.
00:18:53
Speaker
So I started to, I don't know, play a little experiment with different materials that I found here, like the asphalt, which is something that in Chile we don't have this kind of stones of asphalt to fix the streets.
00:19:17
Speaker
You can see it, but in a very industrial way, it's not something that you can buy in the store like a natural person.
00:19:32
Speaker
So this work started with a bag of this material that I found in the door of the...
00:19:44
Speaker
of the studios, like it was there.
00:19:47
Speaker
Um, so it was like a founded material, um, as the model too, it was like kind of founded thing.
Material Dialogue: Chile's Asphalt and Artistic Use
00:20:01
Speaker
It's funny that you were drawn, but this video is awesome.
00:20:06
Speaker
Um, it really does contextualize the whole, um, show.
00:20:12
Speaker
But it's funny that you're drawn to asphalt and we talked about Robert Smithson and how he thought that asphalt was like the most perfect material, like driving on a highway that's not finished was like the best artwork he could ever had imagined.
00:20:28
Speaker
I remember we talked about it.
00:20:30
Speaker
Yeah, yeah.
00:20:32
Speaker
I forgot that.
00:20:34
Speaker
But yeah, it's true.
00:20:37
Speaker
The material is amazing.
00:20:38
Speaker
The smell of it, what it's made out of, the use.
00:20:42
Speaker
And it's funny that I just think it's just, I assumed it was all over the place, but you said it does not, there's nothing in Chile.
00:20:49
Speaker
They don't use asphalt for the roads.
00:20:51
Speaker
They use it, but as I told you, it's like a very industrial way.
00:20:57
Speaker
It's not something that... Here, it's like you can buy it in Home Depot.
00:21:01
Speaker
Got it.
00:21:02
Speaker
Like, for your house to fix the entry for your car.
00:21:08
Speaker
And in Chile, that's... I think that doesn't exist.
00:21:13
Speaker
It's like, no, very unusual.
00:21:16
Speaker
You see, like, in big roads, like...
00:21:21
Speaker
like a specialized thing, but not something that you can have in your studio or in your house.
00:21:33
Speaker
So, yeah.
00:21:35
Speaker
And it's...
00:21:37
Speaker
I like that it's in some way it's an awful material, like something very toxic and it came from an industry that it is related with like pollution and
00:21:59
Speaker
Yeah, so I liked that and the fact that you can use it in this case.
00:22:07
Speaker
I reused it so many times, so I was able to feel the model again and again.
00:22:20
Speaker
it keep working because it was always sticky.
00:22:26
Speaker
It's like it never ends.
00:22:31
Speaker
I don't know.
00:22:33
Speaker
Unless you apply heat and weight to it, right?
00:22:36
Speaker
When they do the, they roll over it with the trucks.
00:22:40
Speaker
Yeah, actually this one, this material, you can use it as it is, like just putting pressure on it.
00:22:51
Speaker
So if I wanted to keep it in that shape,
00:23:01
Speaker
I think I should pressure it more and more until the point that is really, how you say, compacted.
00:23:16
Speaker
And then it probably will remain more time with the shape.
00:23:23
Speaker
But it's like, it seems that you always can like use it again, even in the streets.
00:23:32
Speaker
You can see, I saw the other day, like these workers, like, how you say, like,
00:23:42
Speaker
taking off, like, yeah, like removing the, the asphalt and you see it and it was like the same that I have in my bag.
00:23:55
Speaker
So, so yeah, I like that, that idea of the, that you can use it over and over again.
00:24:04
Speaker
And it's like, it will, it will be always the same.
00:24:08
Speaker
It's like you, you can get rid of it.
00:24:11
Speaker
It's,
00:24:14
Speaker
every time you did it did it pour out similarly or did it go faster or like in the different tries that I it was always different because it depends on the way I pressure the material into the into the model so I started like
00:24:44
Speaker
experimenting with that.
00:24:46
Speaker
Like...
00:24:48
Speaker
different ways to put the thing and see what happens.
00:24:54
Speaker
Yeah, because I liked the idea of having these different rhythms, like at the beginning this very calm, quiet thing and then the collapsing.
00:25:07
Speaker
And then you have again this part which is again very calm, it's like you almost
00:25:15
Speaker
can't see any movement, but if you get a little closer, you can see that they are always moving in a very slow way because they have this sticky thing, all these stones, so they are moving in slow motion.
00:25:36
Speaker
Yeah, that was part of the experimentation, I think.
00:25:44
Speaker
It was also very smart to the angle that you shot it at and the way it's the emptiness in the background, it alludes again to architecture and horizons and looks kind of bluish in the back.
00:25:57
Speaker
It kind of looks like, like sky.
00:26:00
Speaker
I didn't think about that actually.
00:26:03
Speaker
It's interesting.
00:26:04
Speaker
Yes.
00:26:06
Speaker
And also, I can't help but think of Andy Warhol's Empire, the 24 hours, just watching the Empire State Building for 24 hours.
00:26:17
Speaker
No, I didn't know about that work.
00:26:19
Speaker
No.
00:26:22
Speaker
But I will see it.
00:26:24
Speaker
I'll send you a link.
00:26:25
Speaker
But I mean, there's also a tinge of Roger Brown, the Chicago painter that I'll show you as well.
00:26:33
Speaker
But again, the idea of entropy of this thing is together and then just will collapse is recurrent, I think, in your work.
00:26:44
Speaker
Do you think?
00:26:47
Speaker
Whether it's with the materials that you use or the temporary,
00:26:51
Speaker
Yeah, maybe.
00:26:52
Speaker
I didn't think about that in that way.
00:26:55
Speaker
But yeah, I really like the thing that
00:27:03
Speaker
the temporary character of the work, like you know that it is going to be dismantled at some point that you will never do it again in the same way.
00:27:24
Speaker
So it's part of the...
00:27:30
Speaker
my interest for site-specific things, like they are done for this place, so when they are finished, you can't do it like redoing them, remake them in another place.
00:27:47
Speaker
So this temporary tea, is that a word?
00:27:53
Speaker
It is, no?
00:27:56
Speaker
It's interesting for me.
00:27:57
Speaker
So yeah, maybe it has something to do with the video.
00:28:04
Speaker
I didn't think
00:28:05
Speaker
it in that way, but maybe you're right.
00:28:09
Speaker
I mean, I also, if you ever want to, this could easily be an NFT as far as like a way of dispersion for it to be dispersed to a wider audience because it's a, the video itself is enthralling.
00:28:24
Speaker
And we in particular love long format art videos for that particular space.
00:28:32
Speaker
Yeah, it's weird for me because I think the video as something for this space because I liked that relation with the space, like the gallery shape into the gallery shape, like.
00:28:55
Speaker
this work that refers to itself in some way.
00:29:01
Speaker
So it would be weird for me to have it like outside of the space, but maybe someone like it.
00:29:12
Speaker
No, contextually, it does work very well in space, obviously.
00:29:15
Speaker
Even the wood floor corresponding with the way that it was placed on the floor.
00:29:19
Speaker
And it kind of like almost a continuation of the flooring, which I'm sure was purposeful.
00:29:25
Speaker
No, it wasn't.
00:29:28
Speaker
The thing that I...
00:29:33
Speaker
I thought about the idea of putting it in the corner of the space and like in the most far point to the entry of the space.
00:29:49
Speaker
It's like the last thing you are going to see.
00:29:54
Speaker
I think that that was the decision.
00:29:58
Speaker
of it.
00:29:59
Speaker
But yeah, you're right.
00:30:01
Speaker
You have some continuity between the floor of the gallery and the floor in the video and it looks nice.
00:30:10
Speaker
Yeah.
00:30:13
Speaker
As far as the photograph over here of the actual model on the train,
00:30:20
Speaker
I know it's New York City and I've seen so many different objects brought on the train that you would never think, like couches.
00:30:29
Speaker
Did anybody say anything or was there any kind of reaction?
00:30:34
Speaker
No, it was like you can see in the picture, like people looking with some curiosity or like doubting about why is that there and why is she taking pictures of it?
00:30:53
Speaker
Like why this is so interesting.
00:30:58
Speaker
Yeah, I liked that, that relation.
00:31:05
Speaker
They were a little skeptical about it.
00:31:09
Speaker
Is that a word?
00:31:10
Speaker
Yeah.
00:31:11
Speaker
Skeptical.
00:31:11
Speaker
Skeptical, yeah.
00:31:16
Speaker
Yes, it was like that kind of reaction, I think.
00:31:25
Speaker
It's great.
00:31:25
Speaker
And the group of people in the train, they look timeless.
00:31:28
Speaker
Like it was a good moment.
00:31:30
Speaker
It looks like they could be from the nineties or the two thousand.
00:31:34
Speaker
Now you have the masks.
00:31:35
Speaker
So that's very, very contemporary.
00:31:41
Speaker
That is a part of the time and place.
00:31:42
Speaker
Unfortunately.
00:31:43
Speaker
Yes.
00:31:43
Speaker
The masks.
00:31:45
Speaker
Yes.
00:31:46
Speaker
Well, cool.
00:31:47
Speaker
Well, is there anything else you'd like to say?
00:31:52
Speaker
Did anyone go into the space with the mesh?
00:31:58
Speaker
No, like during the exhibition.
00:32:00
Speaker
Is there anything?
00:32:01
Speaker
No, but it's not impossible.
00:32:05
Speaker
Right.
00:32:05
Speaker
So it's like a possibility.
00:32:08
Speaker
Like if you want to, how you say, crawl and then to get in, maybe you can.
00:32:16
Speaker
But...
00:32:18
Speaker
Yeah, I like the thing that you have this limit or limitation in the space, but it looks not too tough.
00:32:33
Speaker
Like, it looks like it is possible to get in there.
00:32:38
Speaker
Like, it's not that, like, how do you say, like...
00:32:48
Speaker
Well, the material is soft, it's soft.
00:32:50
Speaker
Yeah.
00:32:51
Speaker
You can kind of bend the bottom or fold it up or something.
00:32:54
Speaker
Yeah, yeah.
00:32:55
Speaker
It's like, yes.
00:32:57
Speaker
It's not like a wall, you know.
00:33:01
Speaker
You can see through it.
00:33:02
Speaker
It's more like subtle in some way.
00:33:09
Speaker
So...
00:33:10
Speaker
But it would still feel like a violation.
00:33:13
Speaker
Like you're not supposed to.
00:33:14
Speaker
Yes.
00:33:15
Speaker
Totally.
00:33:17
Speaker
But I like that you have this question.
00:33:21
Speaker
Like maybe I can go in there.
00:33:24
Speaker
Like it's possible.
00:33:26
Speaker
It's not like.
00:33:28
Speaker
Yeah.
00:33:29
Speaker
It's.
00:33:30
Speaker
I can say as a child who grew up in New York city, um, oftentimes when we did run into sites of construction, they did become pseudo playgrounds for us when they, like on the weekends, when the men weren't working, we would, I mean, it was an invitation for us to play.
00:33:47
Speaker
I can imagine.
00:33:48
Speaker
I, I really, I really like this kind of material.
00:33:51
Speaker
So if I were a kid, I will probably try to get in there or yeah.
00:33:58
Speaker
Or like in the middle of the two layers because you have like this double layer and that's like you want to do this and to touch it.
00:34:14
Speaker
I'm just looking at it now.
00:34:15
Speaker
It's creating this nice moray effect, kind of like the two layers.
00:34:20
Speaker
Yes, yes.
00:34:21
Speaker
I like that.
00:34:23
Speaker
It's like...
00:34:25
Speaker
illusion in some way.
00:34:26
Speaker
Yeah.
00:34:28
Speaker
Yeah.
00:34:29
Speaker
Well, very cool.
00:34:30
Speaker
Thank you so much for giving us a tour.
00:34:33
Speaker
I guess I would post some pictures and people can see it because obviously, but it's up until when?
00:34:40
Speaker
Until the 20.
00:34:42
Speaker
Hmm.
00:34:43
Speaker
Maybe we should put the podcast out tomorrow so that people can go see it.
00:34:47
Speaker
Yes.
00:34:49
Speaker
Because it's, I was talking to, remember, Annika, Todd?
00:34:55
Speaker
We talked to her a couple of days ago because she's going away to teach in a different city.
00:35:01
Speaker
So we thought we'd podcast with her as well.
00:35:03
Speaker
And we were talking about methods of, like for her to finish a piece, the documentation is very important.
00:35:10
Speaker
But I remember talking to you and how the documentation doesn't quite complete the work for you.
The Essence of In-Person Art Experience
00:35:16
Speaker
Yeah, it's interesting because for me, it's very important that the documentation, as it's like the only thing that remains of the work,
00:35:25
Speaker
But at the same time, I feel that a picture of the work is not like an artwork for me.
00:35:32
Speaker
It's not like
00:35:34
Speaker
Like for me, the most important thing is the experience that you have into the space with the work.
00:35:41
Speaker
So when I see just a picture of the work, it's like it's not enough to really show how the work was.
00:35:53
Speaker
So yes, I would really like to invite people to come and see it like directly.
00:36:01
Speaker
Perfect.
00:36:02
Speaker
We will put the call out.
00:36:03
Speaker
Well, thank you so much for speaking with us.
00:36:05
Speaker
Thank you for showing us this amazing work and good luck with you in your future endeavors.
00:36:13
Speaker
Thank you.
00:36:14
Speaker
And thank you for coming and for being so interested about it and like thoughtful.
00:36:25
Speaker
My pleasure.
00:36:26
Speaker
Thank you.
00:36:27
Speaker
Thank you.
00:36:33
Speaker
Arranging Tangerines is recorded, edited, and produced by Lydian Stater, an evolving curatorial platform based in New York City with a focus on the intersection of contemporary and crypto
Conclusion and Credits
00:36:43
Speaker
art.
00:36:43
Speaker
You can learn more at LydianStater.co, find images at LydianStaterNYC on Instagram, and follow us at LydianStater on Twitter.
00:36:51
Speaker
Thanks to Maria Gabler for taking the time to speak to us this week.
00:36:54
Speaker
If you'd like to learn more about her work, visit our website at MariaGabler.com.
00:36:57
Speaker
Big thanks to Tall Juan, who graciously provides our intro music.
00:37:01
Speaker
His albums are available at tallwan.bandcamp.com.
00:37:05
Speaker
And thank you to you, listener, for spending your valuable time with us.
00:37:09
Speaker
I know what to do.
00:37:10
Speaker
I don't know what to say.
00:37:13
Speaker
I just know I don't want to be like you.
00:37:15
Speaker
I know what to do.
00:37:16
Speaker
I don't know what to say.
00:37:18
Speaker
I just know I don't want to be like you.
00:37:30
Speaker
you