— A collaboration between LAGE EGAL and PØST

Exhibition dates: March 25 — April 14, 2018
Open hours: THU — SAT, 12 — 6pm, or by appointment

PØST, 1206 Maple Ave #515 
Los Angeles, CA 90015, USA

PØST is pleased to present a collaborative exhibit with Berlin space LAGE EGAL in conjunction with their participation in exhibit CO/LAB III at Torrance Art Museum.

PØST (1995 to present) is a subversive space in Los Angeles, a project of HK Zamani, that has hosted nearly 500 exhibits.

For more information about the exhibition, please write to

is an artist-run project space for production and exhibition, founded in 2010. It works with the mechanisms of presentation and art market in an experimental and playful way, aiming to provoke and engage in discussion. LAGE EGAL houses a studio, an office, a workshop, a warehouse and various showrooms, in which production and mediation of art is characterized by a cohesion between critical irony and distance. LAGE EGAL also regularly organizes off-site exhibitions and involves numerous guest curators, who are given complete creative freedom in their projects. The space is also focused on artists books, editions and multiples, constantly questioning the original, the copy, the duplicate and the series. As a non-market-oriented, experimental space, LAGE EGAL aims to give artists the opportunity to show their work outside the commercial and institutional mediations.

Pierre Granoux is a conceptual artist, independent curator and founder of the project space LAGE EGAL. He studied in Ecole des Beaux-Arts in Nîmes, France, before moving to Germany and establishing his independent curatorial and artistic practice, situated between Dadaism, appropriation art and the tradition of text-based art. Besides co-founding LAGE EGAL project space in 2010 and serving as its artistic director and mediator since 2012, Pierre Granoux also actively participates in international solo and group exhibitions in Germany, France, Luxembourg and Brazil, amongst others. His works are also included in numerous private and public collections.
Constituent for the works of Thomas Prochnow is his site-specific installations. A place is being analyzed, dissected and probed until the conceptual idea is developed. Prochnow proceeds methodically like an analytic philosopher and thus links to the maxim of Concrete Art: “The piece of art must be completely conceptualized and shaped in mind before it is realized.“ (Theo van Doesburg) Born in 1978 in Gera, Germany. Artistically influenced by Graffiti and Street Art, the artist‘s aim is to intervene in specific places. Places that were closed to public awareness for a long time, and are now in the limelight as so called Lost Places for urbanists and artists. Prochnow was working there with spray paint and photographed the result. The final product is very often the photo, which is less a documention than a photograph. Prochnow never again visits these places that have been occupied by him for a short time. What happens to them is beyond his knowledge. Prochnow is often working with standardized geometric shapes and with DIN formats. Already as a master pupil in Dresden he dug a finger into an artistic wound: His interest in the ordinary usable format DIN A4 not only met approval in the academic educational establishment. Prochnow went on undeterred with his focus and followed the ideas of Concrete Art. The accentuation of formal array with simultaneous negation of all metaphysic and every symbolism, is characteristic for his creative work.
Jofroi Amaral is interested in gestures that define Humans. When he paints with objects, it is for exploring the idea of an action as a paradigmatic archetype. The will of spirit against the resistance of matter. Because the objects mostly refuse to behave as a brush, putting the artist in the face of failure of his vision. However, by the understanding of its failure this becomes an authentic experience.
What happens when machines can do most physical tasks better than any human could? We will soon need to deal with questions like this in the near future. The issues and problems are extremely complex and the processes for resolving them will, more than likely, not be peaceful. Trujillo’s work references these concepts on a macro scale, the topography of cities, the intricate connections of global computer networks, and the complex digital structure of computer viruses. They all reflect a new era, a new era of chaos. 
When Trujillo first saw a laser cutter at work he was mesmerized. He knew instantly it was something that he wanted to explore and make art with. It quietly and smoothly moved across the work surface cutting and engraving with a speed and precision that the greatest human craftsman could never attain with a lifetime of practice. He began to realize that this device, along with other technologies like 3D printing, robotics etc., which have been around for a while, had reached a price point where they are now affordable to a mass consumer market. This represented the beginning of a new era of technological production that will rival the industrial revolution in its ability to transform our lives and this planet. At first, he was elated about this idea. He thought what wonders we will create. But, in thinking about it more, he dreaded the monsters it would bring.
Osvaldo Trujillo is a visual artist and professor, based in Los Angeles.     

With her current work, she is using stars and planets (as well as incorporating a diverse lexicon of imagery), as point sources of light to write as well as draw with. All of the images are her own. With typically slow shutter speeds she has trained her camera on Jupiter, the solar eclipse, a full moon, an eclipsed moon, and even New York’s Grand Central Station ceiling and spelled out an array of letters and shapes. Each letter or shape bears the trace of the movement and unsteadiness of her wrist. Thus, each of her intimate gestures registers contact with the infinite and timeless. Both the act itself, and an intuitive assembly of associations that occur in post-production have suggested the words and ideas she has “pictured”.

For thirteen years Zamani’s works consisted of shear fabric stretched over wire armatures that had been attached to either the wall or panels. When lit, the interplay between the lit fabric and its shadow on the wall or panel surface behind produced moiré patterns. These works were visual experiences reminiscent of Op and Psychedelic art in their purely visual impact. They could also be seen as an extension of the Los Angeles Light and Space art movement with its intellectual questioning of perception. These studies of light as particle and wave were timely and were motivated to play analog against digital technology.

Zamani’s wall and room works led to constructing the domes for physical actions. A dome in a state of disarray, as a dysfunctional architectural form, of ideals and expectations, became the subject matter for contemplations in drawing and paint. In contrast to his fabric and armature paintings they argued the importance of failure.
His dome and tent paintings were less about paint than image. Their recent transmutations are about paint. These paintings are portraits. Perhaps even self-portraits, fragile portrayals. Some are ruins, some are vessels, and transport. The new images in these paintings continue to grow out of, or away from their predecessors. They are sometimes devils, then angels. Some are on land, in sky or sea, occasional remnants, reformed or transformed. They are a return as well as departure, departure from the dome image and back to the way he used to paint.