Dead Letter Office
Organized by Anna-Sophie Berger

Christophe Charon, Feminist Land Art Retreat, Matthew Linde, Lucia Elena Prusa, Min Yoon, Anna-Sophie Berger
June 19 - July 30, 2016

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installation view, Dead Letter Office, JTT, New York

“For the date of my own birth, I repeat, my own birth, I have never forgotten, I never had to note it down, it remains graven in my memory, the year at least, in gures that life will not easily erase. The day itself comes back to me, when I put my mind to it, and I often celebrate it, after my fashion, I don’t say each time it comes back, for it comes back too often, but often. Personally I have nothing against graveyards, I take the air there willingly, perhaps more willingly than elsewhere, when take the air I must. The smell of corpses, distinctly perceptible under those of grass and humus mingled, I do not find unpleasant, a trifle on the sweet side perhaps, a trifle heady, but how infinitely preferable to what the living emit, their feet, teeth, armpits, arses, sticky foreskins and frustrated ovules. And when my father’s remains join in, however modestly, I can almost shed a tear. The living wash in vain, in vain perfume themselves, they stink. Yes, as a place for an outing, when out I must, leave me my graveyards and keep-you-to your public parks and beauty-spots. My sandwich, my banana, taste sweeter when I’m sitting on a tomb, and when the time comes to piss again, as it so often does, I have my pick. Or I wander, hands clasped behind my back, among the slabs, the flat, the leaning and the upright, culling the inscriptions. Of these I never weary, there are always three or four of such drollery that I have to hold on to the cross, or the stele, or the angel, so as not to fall. Mine I composed long since and am still pleased with it, tolerably pleased. My other writings are no sooner dry than they revolt me, but my epitaph still meets with my approval. There is little chance unfortunately of its ever being reared above the skull that conceived it, unless the State takes up the matter. But to be unearthed I must first be found, and I greatly fear those gentlemen will have as much trouble finding me dead as alive.”

(Samuel Beckett: First Love)

installation view, Dead Letter Office, JTT, New York
installation view, Dead Letter Office, JTT, New York
Anna-Sophie Berger
26th June, 2015
highlighter, pencil, inkjet print on paper
101.5 x 76 in
40 x 30 cm
Lucia Elena Prusa
Uniform, 2016
10 aluminum rings
Size 5, Size 6, Size 7, Size 8, Size 9, Size 10
PANDORA, 2016
Anna-Sophie Berger and Lucia Elena Prusa
softcover, 94 pages
8.5 x 5.5 in
21.5 x 14 cm
$5.00
purchase
PANDORA, 2016
Anna-Sophie Berger and Lucia Elena Prusa
softcover, 94 pages
8.5 x 5.5 in
21.5 x 14 cm
$5.00
purchase
installation view, Dead Letter Office, JTT, New York
Matthew Linde
dress, 2013
metal dress form, dress, paint
dimensions variable
installation view, Dead Letter Office, JTT, New York
Lucia Elena Prusa
Window 2, 2016
pigments, graphite, paper, aluminum, glass
16 x 23.5 x 1.5 in
40 x 60 x 4 cm
Lucia Elena Prusa
Window 3, 2016
pigments, graphite, paper, aluminum, glass
16 x 23.5 x 1.5 in
40 x 60 x 4 cm
installation view, Dead Letter Office, JTT, New York
Anna-Sophie Berger
bruise, 2016
print on vinyl
12 x 12 in
30 x 30 cm
installation view, Dead Letter Office, JTT, New York
Feminist Land Art Retreat
Heavy Flow Film Poster (Timeless), 2016
watercolor and UV ink on digital print
40 x 60 in
101.5 x 152.5 cm
Feminist Land Art Retreat
Heavy Flow Film Poster (EXPLOSIVE), 2016
watercolor and UV ink on digital print
40 x 60 in
101.5 x 152.5 cm
Min Yoon
Untitled, 2016
pig skin, thread
0.25 x 55 x 12 in
0.5 x 139.5 x 30.5 cm
installation view, Dead Letter Office, JTT, New York
Christophe Charon
The Wilderness of System "Yesterday is presently disintegrating as innocent aspects of honest room explode. Lines have never been rules - I appear stable. Future and I surrender. Still currents and dropsical European wasteland." - Katerine Niedinger, 2016
7 archival pigment prints on Hammermühle paper in aluminum industrial frames
23.5 x 49.5 in
59.5 x 126 cm
Anna-Sophie Berger
she vanished (S.B.), 2016
silk, thread, mud
dimensions variable
installation view, Dead Letter Office, JTT, New York
Lucia Elena Prusa
Window 1, 2016
pigments, graphite, paper, aluminum, glass
16 x 23.5 x 1.5 in
40 x 60 x 4 cm