The debris is then deposited in an incinerator which the narrator likens to ‘evil Baal’, a ‘false god’ from the Bible.
The dog traipses mud into the house, and the robotic mice promptly clean up after him. It is shivering, emaciated, and covered in sores: although it’s not stated, it’s implied that this is a result of the nuclear attack which killed the dog’s owners. Advance appointments are recommended.At noon, the family dog returns and the automated front door recognises the sound of its whine and opens to let it inside.
The gallery is open to the public Thursday to Saturday, 11am to 6pm, with a limited number of visitors permitted at a time, in accordance with city guidelines and with enhanced safety measures in place. The gallery will continue these salons as part of its gallery exhibitions and programming. The salon hosts public and private events that encourage collaboration and conversation among artists, architects, writers, composers, and thinkers. Madey is also a co-founder of Second Floor Salon at 1 Rivington with architect Koray Duman. Since 2017, Madey has been consulting to private collections, non-profits, and foundations to create experimental programming and exhibitions that explore novel formats for supporting and presenting artists’ work, and this spirit of collaboration and experimentation is driving force behind the new gallery. Previously, Madey was the owner of On Stellar Rays from 2008–17. Artists in the exhibition explore the tensions between structure and chaos, culture and nature, reason and instinct-ultimately embracing a strategy of fissure, decay, chaos, and rebirth.
The exhibition examines the tenuous logic of human lexica-such as language, architecture, taxonomies, or timelines-and the anthropic arrogance inherent to systems that are created to uphold existing hierarchies. Rather, entropy and nature reclaim what remains of built human architecture. The story concludes with the mainframe repeating the same date and time endlessly, linear concepts of time and progress having become obsolete. The domestic setting symbolizes humanity’s more ambitious attempts to control time and the environment, and the disastrous outcome of excessive productivity, consumption, and competition. The exhibition title comes from a short story by Ray Bradbury published in The Martian Chronicles in 1950, in which a fully automated house continues its daily routines devoid of human life. Uri Aran, ektor garcia, Julia Haft-Candell, Adam Henry, Steffani Jemison, Sahar Khoury, Marlene McCarty, Joan Nelson, Em Rooney and Didier Williamįor its inaugural exhibition at 1 Rivington Street, Candice Madey is pleased to announce an exhibition titled There Will Come Soft Rains.
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