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	<title>Dracula's Revenge</title>
	<link>https://draculasrevenge.com</link>
	<description>Dracula's Revenge</description>
	<pubDate>Sun, 25 May 2025 21:55:16 +0000</pubDate>
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		<title>5</title>
				
		<link>https://draculasrevenge.com/5</link>

		<pubDate>Sun, 25 May 2025 21:55:16 +0000</pubDate>

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Dracula’s Revenge
5

218 Centre St
New York, NY 10013

	ω.Ravi Jackson
March 6 – April 11, 2026
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	α.Guillaume Dénervaud
April 24 – May 30, 2026


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		<title>4</title>
				
		<link>https://draculasrevenge.com/4</link>

		<pubDate>Tue, 30 Jul 2024 07:06:09 +0000</pubDate>

		<dc:creator>Dracula's Revenge</dc:creator>

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Dracula’s Revenge
4


105 Henry St
New York, NY 10002

	ω.Anna-Bella Papp
March 14 – April 13,
2025
	&#60;img width="786" height="699" width_o="786" height_o="699" data-src="https://freight.cargo.site/t/original/i/4d64aeebf0701b3918f787e66f1c9d7e3cbc610693e698877aa686ab3b094954/Skier4.png" data-mid="215482794" border="0"  src="https://freight.cargo.site/w/786/i/4d64aeebf0701b3918f787e66f1c9d7e3cbc610693e698877aa686ab3b094954/Skier4.png" /&#62;
	α.Megan Plunkett
April 18 – May 25,
2025


INFO</description>
		
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		<title>3</title>
				
		<link>https://draculasrevenge.com/3</link>

		<pubDate>Tue, 30 Jul 2024 07:03:53 +0000</pubDate>

		<dc:creator>Dracula's Revenge</dc:creator>

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Dracula’s Revenge
3


29 Henry St

New York, NY 10002

	α.
Hanna Hur
March 8 – April 14, 2024

	&#60;img width="650" height="393" width_o="650" height_o="393" data-src="https://freight.cargo.site/t/original/i/41040b5af14bb36788b312c7b19ce0e9a49db97849ff3cbf1fabda10b2f73fb0/Skier3.png" data-mid="215482781" border="0"  src="https://freight.cargo.site/w/650/i/41040b5af14bb36788b312c7b19ce0e9a49db97849ff3cbf1fabda10b2f73fb0/Skier3.png" /&#62;
	ω.
Jesse Stecklow
April 28 – May 26, 2024


INFO</description>
		
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		<title>2</title>
				
		<link>https://draculasrevenge.com/2</link>

		<pubDate>Tue, 30 Jul 2024 06:58:39 +0000</pubDate>

		<dc:creator>Dracula's Revenge</dc:creator>

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Dracula’s Revenge
2


23 Pell St, 2nd FL

New York, NY 10013
	ω.
sidony o’neal
March 19 – April 23, 2023

	&#60;img width="650" height="484" width_o="650" height_o="484" data-src="https://freight.cargo.site/t/original/i/4ce849b336eca6f3effd8da5292a5a2c4289437127a7bdd767f731d3aa4f3ebf/Skier2.png" data-mid="215482770" border="0"  src="https://freight.cargo.site/w/650/i/4ce849b336eca6f3effd8da5292a5a2c4289437127a7bdd767f731d3aa4f3ebf/Skier2.png" /&#62;
	α.
Nicholas Hatfull
May 7 – June 18, 2023


INFO</description>
		
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	<item>
		<title>1</title>
				
		<link>https://draculasrevenge.com/1</link>

		<pubDate>Tue, 30 Jul 2024 00:37:15 +0000</pubDate>

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Dracula’s Revenge
1


47 Canal St, 4th FL
New York, NY 10002
	α.David MuenzerMay 7 – June 20, 2022
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	ω.Raza KazmiJune 25 – July 24, 2022


INFO</description>
		
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	<item>
		<title>Nicholas Hatfull</title>
				
		<link>https://draculasrevenge.com/Nicholas-Hatfull</link>

		<pubDate>Mon, 29 Jul 2024 23:42:50 +0000</pubDate>

		<dc:creator>Dracula's Revenge</dc:creator>

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		<description>
  
    Dracula’s Revenge
    
  


  
    
    Nicholas Hatfull
      Shades
      May 7 – June 18, 2023
    
  

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PRESS:
    Yale University Radio


CHECKLIST

Contemporary Art Library PRESS RELEASE (excerpt):
  
  &#38;nbsp; &#38;nbsp; “The other day I took my daughter for ice cream, which she was eating with a little wooden spoon, and she was re-forming her little scoops of ice cream in her mouth, taking the spoon and studying these temporary sculptures, interpreting their form in that naturally, madly associative way children have - ‘look, that looks like a bed.’ ‘Now it looks like a sofa!’ That spoke to me of plasticity, and pleasure in forms. I could see the headrest of the ‘bed’, on the brink of returning to total formlessness. 

   &#38;nbsp; &#38;nbsp; Making paintings with children, or watching them paint, you can’t help but be struck by how quickly they can generate something interesting, and how unafraid they are to obliterate it. It reminds you that paint can have a certain wildness.”&#38;nbsp; &#38;nbsp; –Nicholas Hatfull (2023). Read the full interview HERE&#38;nbsp;ABOUT:
  &#38;nbsp; &#38;nbsp; Nicholas Hatfull (born in Tokyo, Japan) is a painter who lives and works in Norwich, UK. Hatfull received a Postgraduate Diploma from the Royal Academy of Arts, London in 2011, and was the Sainsbury Scholar in Painting and Sculpture at the British School at Rome in 2012. Recent solo exhibitions include Josh Lilley, London (2020, 2017, 2014); The Club, Tokyo (2019); and Peles Empire, London (2012). Group exhibitions include Leave the road; take the trail at Xenia Creative Retreat, Hampshire (2022); Timelessness at The Club, Tokyo (2020); Stains On A Decade at Josh Lilley, London (2019); Folly at Emalin, Airth, Scotland (2016); D’Après Giorgio at Fondazione Giorgio e Isa de Chirico, Rome (2012); and Re-generation at Museum of Contemporary Art, Rome (2012). His work has appeared in Financial Times, Frieze, Mousse, and Time Out, among others. Hatfull’s writing about painting has appeared in Apollo, Frieze, Mousse, and monographs such as Michael Armitage ‘You, Who Are Still Alive’ (2022).
  </description>
		
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	<item>
		<title>Hanna Hur</title>
				
		<link>https://draculasrevenge.com/Hanna-Hur</link>

		<pubDate>Mon, 29 Jul 2024 23:42:32 +0000</pubDate>

		<dc:creator>Dracula's Revenge</dc:creator>

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Dracula’s Revenge


Hanna Hur
lost Thing
March 8 – April 14, 2024

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CHECKLIST
Contemporary Art Library

PRESS RELEASE:
lost Thing gnaws at an imperceptibly cracked surface, seeking some unknown. Hanna Hur’s exhibition with Dracula’s Revenge (March 8-April 14) presents seven recent paintings, offered up in pairs, where a charged void between works exists like a buzzy, electric magnetic field. Over the past year, the artist has conceptualized her paintings as doubles. For a recent show at Kristina Kite Gallery in Los Angeles, two large diptychs faced each other, in a sort of quiet architectural confrontation. At Dracula’s Revenge, Hur stacks two of these pairs vertically in the gallery’s long narrow interior, once again using her canvases to order the viewer’s perception within a room. 

The exhibition’s title marks an important thematic throughout the show, and takes its name from a phrase coined by philosopher and psychoanalyst Julia Kristeva. In Kristeva’s 1989 book Black Sun, which addresses themes of depression and melancholia, she identifies the root of all sadness as our early experience of separation from the mother. The “lost Thing” is the pre-oedipal memory of oneness with the mother that can never be recovered. We bear this loss throughout our life, seeking to fill a void. Hur’s “lost Thing” is rooted in her experience of being an identical twin. The perhaps even more sublime oneness that twinship provides makes the inevitable separation through individuation ever more acute. The artist’s doubled canvases place us only that much closer to her endless search for an impossible wholeness.

In the elongated red diptych Angel vi, two canvases dare to reach out to one another, but do not touch. The side-by-side paintings are exact mirrors of one another. While separate, they appear almost bifurcated down the same seam. The central section depicts a stacked half-moon pattern. Placed together, this motif might appear full, or more aptly, complete. The artist likens this section to the spine of an angel. Here, Hur’s flat paintings verge on the sculptural, activating the vacant space between works.&#38;nbsp; 

In other new combinations, patterns are plotted in opposition—rigid, measured grids vie against more natural forms. Chaos and serenity duel one another. The new pairings and contrasts make the artist shudder, but there’s something compelling about the disorientation for someone so accustomed to full control. Central focal points dissolve. Raw canvas peeks out. By embracing improvisation, Hur begins to deconstruct her own systems of making. 

Hur’s technique has always required careful looking, the kind of work that belies its very detail, where viewers commune with the painted edge up close. After all, the ritualistic has long captured the artist’s attention. Paradoxically, Hur strays from her familiar symmetry here, a seismic deviation for an artist so committed to the meticulous. In Sun vii, Sun viii, Sun ix, and Sun x, flower wheel forms drift over checkered grids, frothy bubbles floating wild and uncontained on a surface. Each piece seems to take on its own individual intensity. 

While separate works, the titular lost Thing and lost Thing ii appear to touch. There is friction in this close proximity. They appear to kiss, or embrace, shoulder to shoulder, the shadowy canvases as one singular piece. Related, but separate, counterparts for the duration of the show and no longer. Her brushstroke is loose, both cloudlike and watery. In these doubled picture planes, opaque figures stand alone and in groups. In this symbolic nocturnal space, one wonders which figures are truly alone. Both moons are whole in the sky. Are these figures trapped here, in this endless search for one another? One might walk off the canvas and into the other scene, wafting through Hur’s psychic dimensions. &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 

—Simone Krug, Aspen Art Museum

ABOUT:Hanna Hur lives and works in Los Angeles, CA. Hur received an MFA from University of California, Los Angeles in 2019. Recent solo exhibitions include Kristina Kite, Los Angeles (2023, 2021); Feuilleton, Los Angeles (2020); and Bel Ami, Los Angeles (2019). Institutional group exhibitions include Shadow Tracer, Aspen Art Museum (2022); Drawing Down the Moon, Hammer Museum, Los Angeles (2022); and The Inconstant World, Institute of Contemporary Art, Los Angeles (2021). Hur’s work is held in the permanent collections of The Hammer Museum, Los Angeles and the Museum of Contemporary Art, Los Angeles.
Other exhibitions:
Doosan Art Center, Seoul (2024)

</description>
		
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	<item>
		<title>Raza Kazmi</title>
				
		<link>https://draculasrevenge.com/Raza-Kazmi</link>

		<pubDate>Mon, 29 Jul 2024 23:42:27 +0000</pubDate>

		<dc:creator>Dracula's Revenge</dc:creator>

		<guid isPermaLink="true">https://draculasrevenge.com/Raza-Kazmi</guid>

		<description>

Dracula’s Revenge


Raza Kazmi
field studyJune 25 – July 24, 2022

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&#38;nbsp;CHECKLIST&#38;nbsp;enumerate, 2022 (link)&#38;nbsp;Contemporary Art Library
&#38;nbsp;PRESS RELEASE:

&#38;nbsp;Notes, pre-install, 

&#38;nbsp; &#38;nbsp; A recurring interest in machines plays a part in the construction of sensitive objects made of code, dry-logic, and inference. By predicting unseen data from previously observed data, we arrive back at the lens. Hail apperception. Jejune operations, flat, thin, pulled apart; affine transformations, gaussian processes, and accumulated impressions. It’s all the tang end-up and the clevis end-down, the grit blast, the splashdown loads, and cavity collapse loads, the Randolph type two zinc chromate asbestos-filled putty laid up in strips. Mistakes into miracles. The handedness of man. Confidence thresholds at about eighty percent of ‘sure.’ Signal to signal. Auto-cinéma vérité.

&#38;nbsp; &#38;nbsp; So, to note, if the surface is distorted, the figure also becomes distorted. The image reflected on the surface of a mirror has no depth. An image without depth is a metaphor for all forms of ‘savior.’ Should you only concern yourself with surface? Things are happening that just aren’t accessible to consciousness. Take visual perception: when you look at a rigid object in motion you aren’t able to prevent yourself from perceiving it. Try. What reaches your retina is your phenomenal experience of a rigid object in motion, and you can’t introspect into that. You have data but you don’t know much else about what’s going on. —Multiplicity is alluded to through reflection. 

&#38;nbsp; &#38;nbsp; Together we can diminish distances, but not right now.

ABOUT:
Raza Kazmi (b. 1990 Faisalabad, PK; lives in Hartford, CT) received a BFA in New Media Art from University of Hartford in 2012, and an MFA in Sculpture from Yale University in 2016. Previous solo exhibitions include Dread Circumference at Interstate Projects, 2020. Kazmi is currently an assistant professor of Integrated Media Arts at the University of Hartford.</description>
		
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	<item>
		<title>David Muenzer</title>
				
		<link>https://draculasrevenge.com/David-Muenzer</link>

		<pubDate>Mon, 29 Jul 2024 23:42:25 +0000</pubDate>

		<dc:creator>Dracula's Revenge</dc:creator>

		<guid isPermaLink="true">https://draculasrevenge.com/David-Muenzer</guid>

		<description>
 

  Dracula’s Revenge
    
    
David Muenzer
ProxeticsMay 7 – June 20, 2022

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CHECKLIST“Langy Wangy” by Edwin Everhart
Contemporary Art Library
PRESS:4ColumnsFrieze
PRESS RELEASE:&#38;nbsp; &#38;nbsp; &#38;nbsp; Peekaboo is fun for the protean, young or&#38;nbsp; otherwise, because vantage is tricky. It’s certainly been the subject of treatises in both tactics and aesthetics. Isn’t every military history some story of the high ground? Art history, for its part, even has jargon for back-turned-to-the-viewer-subjectivity-shifts: Rückenfigur.
&#38;nbsp; &#38;nbsp; Taking a bit from both, “goldfishing” is a gamer term for the practice of playing a mock match against an imaginary opponent who takes no action. Who is the metaphorical fish here, the person playing solitaire in the confines of their own room, or the absentee opponent, whose inactivity reflects minimal cognition? I’m told the expression originated with the latter, but the former rings more true.
&#38;nbsp; &#38;nbsp; Anthropology draws a distinction between emic research, conducted within a group from the perspective of the subject, and etic field work, done from the outside. In 1963, Edward Hall selected the former to coin the term proxemics as a name for the study of nonverbal communication related to the spacing between people and, as an extension, their built environments.
&#38;nbsp; &#38;nbsp; The globes in this exhibition try out some movements: turning towards and turning away, solos duos, ensembles. But a drawn figure, however enlivened, is not exactly embodied (it’s more plus less than that). For this work, the etic suffix may be closer to the mark.&#38;nbsp; &#38;nbsp; ABOUT:
&#38;nbsp; &#38;nbsp; David Muenzer received a BA from Yale University in 2009 and an MFA from University of Southern California in 2014. Solo exhibitions include Sylvan Plug at Jan Weenix, Los Angeles (2020) and Scalar-Daemon at Reserve Ames, Los Angeles (2016). Muenzer’s practice also includes writing and exhibition-making. In 2018, he co-organized storefront: Full Haus: The Seeld Library, at the Museum of Contemporary Art, Los Angeles (2018) and in 2011 orchestrated 14 &#38;amp; 15, an experimental exhibition in Philip Johnson’s Lipstick Building, New York. Recent group shows include Delusionarium 5 at Night Gallery, Los Angeles (2021); Portable Documents Formatted for Home Use at Bel Ami, Los Angeles (2020); and A Spaghetti Dress for World Peace at Park View/Paul Soto, Los Angeles (2017). His work has appeared in Artforum, The New York Times, Frieze, Mousse, Contemporary Art Daily, Flash Art, and Art Handler, among others.
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		<title>sidony o'neal</title>
				
		<link>https://draculasrevenge.com/sidony-o-neal</link>

		<pubDate>Mon, 29 Jul 2024 23:42:30 +0000</pubDate>

		<dc:creator>Dracula's Revenge</dc:creator>

		<guid isPermaLink="true">https://draculasrevenge.com/sidony-o-neal</guid>

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Dracula’s Revenge



&#38;nbsp;sidony o’neal
&#38;nbsp;NOT TALKING UNTIL BAD COMPANY JOINS&#38;nbsp;March 19 – April 23, 2023
 

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CHECKLISTContemporary Art Library


PRESS:
 New York Times (PDF)
PRESS RELEASE:
&#38;nbsp; &#38;nbsp; The “bad company” problem was recently generalised to a classical tension in the philosophy of mathematics. This tension haunts any principle of mathematics which “accepts abstraction on just about any equivalence relation.” That is, any principle that allows not an excess of meaning, but instead calls forth a seemingly boundless sequence of (often unbelievable) objects that satisfy similar tastes. Even as they may structure a non-intuitive environment, these objects remain familiar to their generator. We will call such a sequence of objects what we've got (or thought) when we’re giving our givens. Note that the existence of such “unacceptable” abstraction principles rests on answering questions about the conditions under which mathematical abstraction itself might be acceptable. &#38;nbsp; &#38;nbsp; Let G_0 be the principle that GARDEN ~ GRAVE /iff GRAVE ~ GARDEN. Then this is a principle which permits such storied company. &#38;nbsp; &#38;nbsp; Works follow from the place where algebraic operators grow, from the study of functions and curves that carry cooling devices through settler mathematics into industrial ornament, from the meaning of the first tree I peed underneath, from an apotropaic use of the fleuron (see: rotated floral heart bullet)—renders from ongoing research on post-constructivist methods across art and maths. &#38;nbsp; &#38;nbsp; From here, we might find more intuition for the so-called “thin object.” &#38;nbsp; &#38;nbsp; A smug gossamer among the denser math objects, the TO was introduced to discipline and disappear the kind of abstraction principles (rules for making objects) that inherit or invite the “bad company.” This is an object that, if it exists, is so metaphysically light that it requires very little resource for being. If it is a computational object, then it demands the least amount of heat for its retrieval. Any such object will beg one regime after another to be left alone, to exist as whole number. It will attempt to live as the reflexive mark it never was. Observe that any environment structured by such objects may call itself flat-land even as it allows tangents and sprouts normals—permitting unthinkable congruencies thickened against the very principles that called them into being. Such an environment quickly disinherits the labour of recounting its own birth! &#38;nbsp; &#38;nbsp; The givens continue. Assume that ML models can emotionally co-regulate, and that computers (as machines that process signs) are thicc math objects first. Consider that a few months ago I ran with wintry eyes to the data type that baby me loved the most. I went asking for word-key ~ word-value and instead got the following recurrence relation: 
&#38;nbsp; &#38;nbsp; Mo ya tué plin moun èk mô lafron; si mo kònyé twa, mo fann tô caboche dan piti mòrso. 
I have already killed many people with my headbutt; if I knock into you, I’ll shatter your head into thin objects. &#38;nbsp; &#38;nbsp; And so I thought again of the sequence with the three hash tables in soft genuflect. &#38;nbsp; &#38;nbsp; One is here, the other two are quickly reduced to the first case. 



&#38;nbsp; &#38;nbsp;&#38;nbsp;❧



ABOUT:&#38;nbsp;
&#38;nbsp; &#38;nbsp; sidony o’neal is an artist and writer who lives and works in Portland, OR. Recent solo exhibitions include Portland Institute for Contemporary Art (Enchiridion: Aisle, Spline, Resort), Portland, OR; Veronica (AuguRing), Seattle, WA; and Fourteen30 Contemporary (AND NOW, SQUARE TREES), Portland, OR. Group exhibitions include SculptureCenter (In Practice: Total Disbelief), NY. o’neal has participated in residencies at Mass MoCA and Banff Centre, among others. Performances as a part of DT have been presented with Kunstverein Düsseldorf, Volksbühne Berlin, and Performance Space New York. o’neal’s writing and translation has been published with PICA, SculptureCenter, Arts.Black, Interim, and Aeromoto. o’neal is the author of the chapbook LYFE IN A BOTTLE TREE BOTTLE (House House Press, 2020). o’neal has been an instructor at the School for Poetic Computation. In 2020, o'neal was awarded the Oregon Arts Commission's Joan Shipley Award. o’neal is currently a Hodder Fellow at the Lewis Center for the Arts, Princeton University.Other exhibitions: Princeton University’s Lewis Center for the Arts (2023)</description>
		
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