The size of a credit card
April 1 – April 30 2022
Andrew Buszchak, Michelle Cieloszczyk, Nathan Eugene Carson, Yan Wen Chang, Brendan Flanagan, Jenine Marsh, Ping, Craig Spence, Sean Weisgerber
Curated by Daniel Griffin Hunt
Video documentation by Miles Rufelds can be seen here.
A credit card represents many things; a human, a company, a system of fiat currency, capital, a site of neo-colonialism. Algorithms used internally at credit card companies to protect, secure and track data are so exact, they can predict a divorce with a 90% accuracy, two years in advance. The weight of a credit card is the approximate weight of plastic consumed into the human body on a weekly basis. The size of a credit card explores the disproportionate implications this small piece of plastic has on the human body and the systems of transaction, consumption, absorption and dissemination that circulate around it.
Photo documentation courtesy of LFdocumentation.
Sean Weisgerber, Wall Drawing #2 (detail), 2022, 2H pencil and fluorescent red price stickers on gallery wall, dimensions variable
Andrew Buszchak, Night Shift #3, 2021, welded steel, patina, wax, 7” x 14” x 5 1/2”
Yan Wen Chang, Untitled, 2022, blue and red gouache on wall, dimensions variable
Michelle Cieloszczyk, shit bag, 2017, resin and pigment, 12" x 11" x 8 1/2"
Yan Wen Chang, Black leather seat Marcel Breuer Model B3 Wassily Chair replica chair stolen from ex-boyfriend in 2018, 28” x 30” x 28”
Yan Wen Chang, Marcel Breuer Model B3 Wassily Chair replica steel chrome frame purchased on Kijiji in 2018 for $99 CAN, electroplated with 24 Karat Gold in 2022. Seat hand-stitched with a black cotton embroidery thread, cut-up pieces of paintings made by Chang from 2017 to 2022 entitled as follows - “Portrait of Self in Passenger Seat No. 1”, oil on canvas (2022), “Big Dreams”, gouache on denim (2020), “Take Away My Pain, I Regret I Told Mama Life Would Change”, mixed media on canvas (2018), “Home, Exile, and Return”, mixed media on canvas (2018), “You Can’t Play God Without Being Acquainted With The Devil”, mixed media on canvas (2017), can be soaked in Mobil 0W-40 Full Synthetic Engine Oil made for European Cars TM, 28” x 30” x 28”
Yan Wen Chang, 2019-2022, white rose originally purchased at RabbaTM grocery and convenience store in ¥anne$$ey bottle made by Chang’s ex-best friend in 2019, filled with Mobil 0W-40 Full Synthetic Engine Oil made for European CarsTM
Nathan Eugene Carson, Brown bear mural, 2022, appx. 12’ x 8’
Nathan Eugene Carson, Black Banker, 2022, mixed media, 24” x 20”
Craig Spence, YES, 2022, mild steel, LED lights
Jenine Marsh, XX (1), 2018-2022, train-pressed mixed-currency coins, wire, solder, 8” x 12” x 2”
Jenine Marsh, XX (2), 2018-2022, train-pressed mixed-currency coins, wire, solder, 8” x 12” x 2”
Brendan Flanagan, Janus Faced Coin, 2022, hydrocal, oil and photograph, 16” x 20” on variable photo
Brendan Flanagan, Apotheosis of the Arts, 2022, hydrocal, oil and photograph, 16” x 20” on variable photo
PING, THE SIZE OF A CREDIT CARD, A1 print
Brendan Flanagan, Persimmons, 2022, hydrocal, oil and photograph, 16” x 20”
Brendan Flanagan, Pear with Grapes, 2022 hydrocal, oil and photograph, 16” x 20” on variable photo
Jenine Marsh, Inheritance, 2022, displaced, out-of-circulation and train-pressed mixed-currency coins, second-hand purses, found cardboard boxes, sand mix concrete, polyurethane, flowers, wire, synthetic rubber, staples, hot glue, tape, ram board