horn, 2023, cast iron, ceramic, 26 x 6 x 4.25 inches
prospector | André Magaña
Opening Reception on Thursday, September 21, from 6–8pm
On view September 21–October 28, 2023
Parent Company is pleased to announce a solo exhibition by André Magaña.
prospector is an exhibition of new sculptures that backtraces actual and supposed trails of production and investigates the loci of value in post-NAFTA North American production.
The works on view are acts of concealment, camouflage, and/or gestures that investigate the epistemologies of ownership that are expressed through an object’s means of production. These sculptures locate their labor input and production through varying means and locations, revealing chains of complicity as well as causality in the insidious and invisible systems of extractive capitalism.
The exhibition’s title, prospector speaks to the opportunitism embedded in extractive for-profit activity; a destructive behavior romanticized over time by American gold rush lore et al.
Andre Magaña (b. 1992) is an artist based in New York. His work explores utilitarian materials and their potential as corollaries for post-colonial power relationships. Working with contextually loaded materials, his work creates gestures that reveal their embedded subtexts as instruments of social and political control. Magaña’s research focuses on geopolitics, production, and surveillance since the 1980s. He is interested in the impacts of accelerated free trade on economic, ecological, and social balances.
Magaña has exhibited nationally and internationally. Recent solo exhibitions at Gallery Kendra Jayne Patrick, Bern, Switzerland; King’s Leap, New York, NY; Prairie, Chicago, IL; Holding Contemporary, Portland, OR. Recent group exhibitions at PUBLIC Gallery, London, UK; in lieu, Los Angeles, CA; Magenta Plains, New York, NY; SculptureCenter, Queens, NY; SORBUS, Helsinki, FI; and Wesleyan University, Middletown, CT, American Medium, New York, NY; and Alyssa Davis Gallery, New York, NY, among others. His work has been featured and reviewed in Art In America, ArtForum, New York Magazine, The Brooklyn Rail, and CULTURED Magazine.
