Daniel Santiago, an invisible portrait

opening tomorrow, Sunday January 5th from 7pm.

Porcino is pleased to announce the opening of its third exhibition, Daniel Santiago, an invisible portrait.

Porcino is a parasitic gallery located in a hole underneath the floorboards of Chert Gallery in Berlin. Actually, that is not true at all, not at all. Porcino is actually a mycorrhizal gallery located in a hole underneath the floorboards of Chert Gallery. Like the Boletus Edulis and the conifer tree, Porcino and Chert form a symbiotic relationship, their roots and mycelium intertwined with each other as gifts are exchanged for each organism’s continuous survival. It was founded in 2012 by David Horvitz during his first exhibition at the gallery.

Daniel Santiago (born 1939, Recife Brazil) is known for his association with Mail Art, and particularly for his collaborations with friend Paulo Brusky. His work is a playful and often humorous exploration of the poetics of the everyday, whether through capturing the cultural landscape of his surroundings in drawing, or by intervening in the public space of the city with performances and installations. Santiago’s work touches on philosophical questions about solitude, life and freedom, inventiveness as a strategy of survival and the potential of collaborating with others.

PORCINO
68 Skalitzerstrasse, Berlin
(in the hole inside Chert Gallery)
Opening reception June 18 at 8pm.

“I Am Down Here With the Boogens After All” – Ed Steck
A self-portrait is a reflection.

A self-portrait is a reflection: materials constructing images, sensations structuring
architectural moments (definitive personal modulations), chronological impertinences,
yourself creating your self, a frozen practice of an accumulative entirety until a singular
point, the expression before the potential atmospheric capsizing. It is a resolution of the
self-encapsulated within the frames of an image; it is how one is seen while seeing.
“I Am Down Here With the Boogens After All” is a day-book-like piece of self-portraiture
that follows the perspective intake of an individual (a subject, a viewer) constantly
absorbing material references. It is a moment of loss fixated on the repetitious revisiting of
the mundane, the familiar, and sensational: misremembered memory to personal insertions
into film, entering the fixed present to relive a cultivated past, and human grotesqueness to
exaggerated special effects.
A self-portrait is a manufacturing of a self-portrait.
Ed Steck is a writer from Southwestern Pennsylvania. He currently lives in Pittsburgh, PA.
Publications include A Time Stream in Spaces: The Cultic Parody of Time-Induced Capital
published by West as part of the Let Us Keep Our Own Noon group show, Field of Vision
– a limited edition chapbook published by Reactor Press, Beach published as part of “Public
Access” in collaboration with David Horvitz, Chinese Bondage in Peru in collaboration
with Wintergarten LTD, and Mountain as part of “Archive for a Mountain” by Marc
Handelman’s solo exhibition “Geological Sketches at Home and Abroad” at Sikkema
Jenkins & Co. His work has appeared in the anthology Strange Attractors: Investigations
In Non-Humanoid Extraterrestrial Sexualities published by Encyclopedia Destructica,
Capricious Magazine, the Brooklyn Rail, LIT (forthcoming),1913: a journal of forms
(forthcoming), in the publication for the 2012 Columbus Prize Exhibition at Kunsthalle
Ravensburg on the work of painter Natalie Haeusler, and with a contribution in Omer Fast:
5,000 Feet Is Best published by The Power Plant and Sternberg Press. He is one third of
American Books. He graduated from Bard College’s Milton Avery Graduate School of the
Arts.

Open by appointment only. Please contact David at hikarusaru@gmail.com