Glomar II: Strange Engineering (Olga Koumoundouros & Eric Wesley)

Jan 31–Mar 14, 2015

In 1975 a reporter from the Los Angeles Times began asking questions about the massive ship building efforts that had begun in Southern California; a New York Times reporter also picked up the story. As no one seemed to have a very good answer to what was going on, inquires were sent to the Central Intelligence Agency. Nixon had just resigned, and as such the Company found itself in the unusual position of not being able to lie or ignore the inquiries. This is what they came up with:

"We can neither confirm nor deny the existence of the information requested but, hypothetically, if such data were to exist, the subject matter would be classified, and could not be disclosed."

From late 2014 into 2015 Redling Fine Art produced a series of shows and performances working with artists whose works, practices, or logics engage somehow with the spirit or literal ideas found in the Glomar Response.

GloMar II: Strange Engineering (A Giant 8 Fingered Crane), Redling Fine Art, 2015. Installation view.

Eric Wesley, Clean Machine (Turkish Style), 2008, Cast cement and washing machine, 55.12 x 22.44 x 11.81 inches

Olga Koumoundouros, Denial and Longing for the Big Nap , 2014, Automotive belt display unit, papier mache, blown glass, ceramic, silicone, gold leaf, frame, boot, pillow, paper, extension cord, motor powder coat, acrylic spray paint, resin, gold chain, house paint, steel rod, iron burner grate, plastic toy airplane, handbag, 66 x 29 x 29 inches

Olga Koumoundouros, Denial and Longing for the Big Nap (detail), 2014