Gidwitz, Harrington, and Associates is the emergent property of Jay Gidwitz, David Harrington, and all parties and corporations herein referred to as Associates.
The product of these collaborations results from the creation of forces (flows) within a system of probabilistic chaos and resonance: magic(k), neuro-logical re-engineering, and the dismantling/destruction of all maps, topographies.
Ensuing visual, auditory, and tactile experiences develop from seemingly innocuous and purely toxic “Art” (meant only in the four-letter sense of the word). These are processes that seek to subvert the structures underlying reality itself.
It is in this way that terror and the breaking of Self consume the narcoleptic political stance: to subsume mere neuroses—the dull, gray monotony of the filing cabinet—within exotic hallucinations (in full technicolor) and esoteric displays of subliminal anarchy that foreshadow an undoing of being.
Without Empire, Gidwitz, Harrington, and Associates would seek to devour its own exoteric power structures. With Empire, there is a sleep without dreams: the machine eats without tasting, it lives without being.
Because past and future do not exist outside of hallucination, desire exists only within the presumption that one does not possess it.
Art does not exist in context; Art is The Context, within which the ontological is merely a loop—a shadow, an echo—before the final, crushing defeat. This work forces consciousness to embrace a becoming, creating a window opening on to what is not there.
Gidwitz, Harrington, and Associates makes what is not there bigger and better: hallucinations that leap off the canvas and devour the artist and curator before consuming the rest of art history; sounds that vibrate and pulse in space, at once primordial and of a time still to come.
Destabilization is (un)structured: a psychotic grid of chaos and resonance that continues to undermine the “what you don’t know, can’t hurt you” clichés, supplanting them, and leaving only gritty, high-fidelity memories.
If we knew enough to be afraid, it wouldn’t be too late.
Jay Gidwitz and David Harrington