dispatch shop!

Superimpose, Art in Print, January-February 2012


Interview, Kopenhagen, July 19, 2011

Dispatch at No Soul For Sale, by Ceci Moss, Tate Modern, May 16, 2010

Virginia Overton in the New Yorker, April 5, 2010

Virginia Overton critics' pick in Time Out New York, March 11, 2010

Ellie Ga as Told To Lauren O'Neill Butler in 500 Words, March 2010

Erica Baum in Mousse interviewed by Cecilia Alemani, Mar 2010

Tom Holmes in Time Out New York by Anne Doran, Feb 4-10 2010

Justin Matherly in Frieze Magazine by Bob Nickas, Jan 2010

Krysten Cunningham in The New Yorker by Andrea Scott, Dec 14 2009

Krysten Cunningham in The New York Times by Karen Rosenberg Nov 27 2009, p c35

Mirror Me, Critic's Pick by Cathleen Chaffee, Aug 13 2009

Alex Gartenfeld w Brandon Stosuy on Mirror Me, Art in America online, 7/28/09

No Soul For Sale, The New York Times, June 25 2009

Dispatch Interview, 02 Magazine, Summer 2009

No Soul For Sale / Dispatch: Interview of Howie Chen by Alex Gartenfeld, Interview Magazine, June 20 2009

Erica Baum, Art in America, June/July 2009

Erica Baum, Artforum International, May 2009

Indian Ocean, The New York Times, April 24 2009

Erica Baum, The New York Times, Mar 20 2009

Village Voice: Voice Choices, Mar 11, 2009

Erica Baum, Critics' Picks, Feb 24 2009

'Art on a Shoestring', New York Magazine - Nov 30 2008

Flash Art - October 2008
english version / italian version

New York Post, Sept 27, 2008
'Artsy in the hood', Sarah Schmerler

Helsingborgs Dagblads - Sept 6, 2008
Karin Westeman
"At the end of my visit, I am nevertheless pleased to have experienced a playful, yet balanced exhibition with an exciting mix of expressions that make it open to interpretation. But the exhibition also shows that communication is most difficult and we attempt to constantly communicate with each other and with ourselves." (google translation - apologies, ed.)

Sydsvenskan - 28 August, 2008
CAROLINA SÖDERHOLM, Kommunikation på villovägar

Artforum International, Summer 2008
Michael Wilson, Mark Van Yetter and Matt Hoyt, Dispatch
"Yetter's practice is a rather scattershot affair, while Hoyt's revolves around and almost Zen-like introspective focus. What seems to bind the two artists together is an attraction to the anachornistic and opaque, an interest in making objects and images that pull away from the here and now.

Art in America, March 2008
'David Adamo, Museum Museum: XX, at the Metropolitan Museum of Art'
David Ebony
"Can an artwork exist without an audience? When we gaze and an art object do we participate in a sort of ritual act that makes each of us an essential collaborator in the artistic process? Is art viewing itself a performance, a unique artistic endeavor that varies with each individual? These are the kinds of questions posed by David Adamo's wry action Museum Museum: XX at the Metropolitan Museum of Art."


Le Temps>>
Elisabeth Chardon
Dec 8, 2007
"FESTIVAL. Un parcours permet de découvrir la culture émergente dans 13 lieux de la ville... Des nouveaux sont arrivés. Sur le papier, on est toujours dans l'émergence, la découverte, l'ouverture... Vérification.
L'installation de Mika Tajima, joli travail sur le reflet, est encore tout épurée. Samedi, il y aura eu entre-temps une performance qui l'aura transformée, emplie de miroirs brisés...
Un peu de retard et voilà l'étape Sévelin du parcours qui saute. Direction la Galerie Basta. Ce petit sous-sol nous mène droit au Pôle Nord, d'où Ellie Ga envoie des messages. Elle fait partie des artistes présentés par le Dispatch Office, un duo de curateurs. Qui cohabitent avec les incroyables battes de baseball déchiquetées de l'Américain David Adamo."


Dec 2007
"...L'art contemporain se répartit ainsi entre quatre lieux - Circuit, la galerie 1m3, l'espace Basta et l'espace Bellevaux - qui présentent des accrochages choisis et mis sur pied par les new-yorkais de «Dispatch Office» et le Français Julien Fronsacq, prof d'histoire de l'art à l'Ecal, critique d'art et curateur indépendant...." >>
Feb 2006
Everything beautiful and noble is the result of reason and calculation
Organized by the Swiss Institute's Gabrielle Giattino and Whitney at Altria's Howie Chen, this curatorial tour de force elaborates upon Baudelaire's famous line from the seminal essay The Painter of Modern Life to celebrate a new generation of contemporary artists working with conceptual strategies. A massive installation-cum-performance by David Adamo and Michael Portnoy, featuring an army of interns investigating the production of lemon water, headlines the opening reception. Alex Hubbard's video work Moolack Beach Sunset Reversal II turns time and place inside out, and Justin Matherly's delirious, gilded sculpture confounds the senses. Against the backdrop of the fashion district, these works underscore seductive visuality with provocatively jarring aesthetic puzzles. (Andrew Maerkle)

  Flash Art >>
Feb 2006
Everything Beautiful and Noble Is the Result of Reason and Calculation
Until March 25 find out why "Everything Beautiful and Noble Is the Result of Reason and Calculation" -- a goru pshow that inaugurates the Elizabeth Foundation of the Arts' new exhibition program. Curated by Whitney Altria's Howie Chen an Swiss Institute's Gabrielle Giattino, the exhibition presents ten up-and-coming artists from New York whose work addresses certain tendencies in conceptual production towards eluding immediate readings. Though deemed 'opaque,' each is rigourously fine-tunign ideas of dematerialization in ways the art object never saw coming. -Aaron Multon >>
Feb 2006
Everything Beautiful and Noble Is the Result of Reason and Calculation
Hovering between and adding an ironic twist to the two notions that for centuries have determined artistic and philosophic quarrels—form and content—this exhibition features works by ten New York–based emerging artists concerned with the unresolved relationship between visible appearance and invisible essence. Curators Howie Chen and Gabrielle Giattino adopt the famous quote from Baudelaire's 1863 "The Painter of Modern Life" to highlight visual manifestation instead of interpretation; the works in the exhibition employ deceptive strategies such as transparency, ambiguity, repetition, reflection, and deflection. With witty irony, Andrea Merkx plays tautological games in Talks about Rosalind Krauss, 2004, a 3-D video in which she questions Krauss's studies of stereoscopy. Eileen Quinlan's six photographs, Full Edition of Smoke & Mirrors #88, 2006, skillfully capture the ephemeral nature of light and smoke on mirrors, while a rock is methodically shown from multiple viewpoints and yet remains impenetrable in Daniel Lefcourt's video Material & Spiritual Wealth, 2004. David Adamo and Michael Portnoy present the multimedia installation C.O.T.E. Advanced Intern Research: Proposals for Lemonwater, 2006. The acronym stands for "Complication of the Everyday," which gives one a sense of the paradoxical research carried on here. In order to find the perfect combination of lemon and water, the artists and the visitors have been analyzing, inspecting, squeezing, and sectioning the most monstrous lemons and citruses ever seen. The seriousness and precision of this research contrasts with the absurdity and futility of the project, and the incongruity aligns with the exhibition's theme: Here, hidden meanings are put aside for purely aesthetic constructions.
- Cecilia Alemani


Time Out New York >>
Mar 2004
Along for the ride
Two young collectives make unorthodox appearances at the Armory Show

Visitors to this year’s Armory Show – a contemporary art fair held on Piers 90 and 92 in Manhattan – will pass by a series of stands on their way inside, manned by art institutions and publications. One of these, the Swiss Institute (SI), is a nonprofit gallery in Soho, and while it isn’t offering art for sale, it is sponsoring performances by two Brooklyn performance-art collectives: Red Shoe Delivery Service (RSDS) and New Humans. According to curator Gabrielle Giattino, the idea is to “connect the other parts of the armory with our booth, the Swiss Institute and the streets of New York.”


On Monday 15, RSDS will be driving people from the Armory Show to the location of their choice. “Whether they want to have dinner in Tribecca or a hot dog in Central Park, we’ll take them there,” vows Guth. On Friday 12 and Saturday 13, the van will shuttle visitors between the piers and the Swiss Institute. Anyone who snags the last ride on Friday will have a chance to see the New Humans perform at SI, which is open that evening from 7 – 11pm. The group, formed last year as a part of member Mika Tajima’s MFA thesis project at Columbia, creates experimental music (more noise rock than John Cage) that digitally translates visual patterns into sound. Their costumes for SI, created in collaboration with fashion collective United Bamboo, will riff on their usual uniform of rugby shirts, embellished here with fabric strips that trail 10 yards from the body. (Videos by RSDS will also be shown throughout the evening.)

Meanwhile at the Armory Show, the New Humans will spontaneously appear in the halls, carrying textless, colored signs while chanting incomprehensibly. Tajima describes these actions as “interventions of celebration and resistance.” Celebration, sure. But in the face of so much art, resistance might just prove futile. -Amoreen Armetta