Heather Bursch, Joshua Caleb Weibley, Kylie White, Laura Genes, Maggie Lee, Micah Hesse, Pam Lins

Curated by Eduardo Alfonso

July 15, 2017 - August 20, 2017

From an 18th century french word for “cart,” charrette specifically refers to the vehicle on which architectural
designs, being considered for prizes or civic competitions, were delivered. The image of maquettes,
drawings and objects at scale collected on the bed of cart makes it clear that charrettes have both a
ritualistic relation and a common etymology with carnivals and parades.1 At their terminus, the charrette is
unpacked and the plans are arrayed. The ensuing constellation, like the flotilla stood-still at the close of a
parade, becomes a scenic device casting a chimerical light on the things that are usually prosaic.

The ideas laid out on a table, on the floor and tacked on the wall create a concurrence in the miniature,
which is spun out, imagined in actual size. The objects of the charrette; a site plan, photographs, schematic
organizations and maquettes at 1:x; are meant to provide a lense through which the exemplary, unfeasible
and capricious can be seen as practical. They are objects serving double-time first are foremost. The back
and forth from real-space to paper-space and the duration (for both charrettes and carnivals, typically two to
three days) ensures uncanny adjacencies. As formal propositions are confused with the debris of long
hours, the place where placemaking happens unconsciously reflects onto the city. Happy accidents happen.
Once scale begins slipping, gargantuan measurements can be assigned to desk ornaments; A fondness for
toy monuments can alter perceptions and veil potentially sinister outcomes. The confusion between real
form and model form naturally leads to a tempest in a teapot.

1“[...] a ship like cart—the carrus navalis, often considered the source of the disputed word “carnival.” Certainly, this derivation can be taken more seriously
than the banal monkish etymology which claimed the term was an allusion to Lenten fast, reading it as carne, vale—”meat, farewell.” Later, when the matter
was considered in more depth, some etymologist proposed a different source: the old custom of reconsecrating boats in solemn processions before they
were relaunched after the winter storms. That is how they arrived at the latin for “nautical cart.” (Walter Benjamin,”Conversation above the Corso,” 1935 in
Walter Benjamin: Selected Writings Voume 3, 1935-1938)

Kylie White, Lithosphere, 2017, Silver Gelatin prints on Fiber Paper, 8 x 10 (individual prints)

Laura Genes, Merriam Webster Marble: "Loot", 2017, Risograph printing and marbling ink on 100 lb. paper

Joshua Caleb Weibley, Thirds Quarters, 2017, Corian

Heather Bursch, Scattered, Benign, 2016, Pencil and colored pencil on paper