E, I know it begins with E

North End Studios, Detroit From August 4 to 10, 2012

Photo by Megan Major.

Violaine Lochu, ENTRE MO(i), 2012, video installation, 255. Photo by Megan Major.

Violaine Lochu, ENTRE MO(i), 2012, video installation, 255. Photo by Megan Major.

Yan Tomaszewski, Pli montagne, 2012, cardboard for mat, artificial snow, plywood, trestles. Photo by Megan Major.

Yan Tomaszewski, Pli montagne, 2012, cardboard for mat, artificial snow, plywood, trestles. Photos by Megan Major.

Yan Tomaszewski, Pli montagne, 2012, cardboard for mat, artificial snow, plywood, trestles. Background left to right: Clmence Torres, Instructions for extrasensory potential Method and training for the autonomous practice of clairvoyance, Matthew Polzin, A New Almanac.

Clmence Torres, Instructions for extrasensory potential Method and training for the autonomous practice of clairvoyance, 2012, book, digital color print, 32 pages. Photo by Megan Major.

A New Almanac Some people know the right kind of trees that grow in the different parts of town. An offering has gone to black seed in their fields, and the children give collard bones to dogs. The interval between Mother Mary statuettes both sides of Vernor is grounds for their exploring. The city is two sensuous columns there. You have to brush against the bodies to get past. Children cross to places that some people would have them believe are not really there, places they hope to dissolve into reality. Holograms on the other hand are built without sides. They have only faces. The RenCen is one and others air condition whole streets. The trick of a hologram is it can disguise the dimensions that surround it. They are somebody elses future of the past. Words can manufacture a hologram if there are enough, which is exactly what half-naked rumors do to public figures. Falling into bed fills in the other half. Then none of why I loved it remains, but the danger is there. A city can file you into its offices of self. The pedestrian bridge on 1-75 tightrope walks the fragments of a community. The park or De Chiricos arcade might be the symptoms of missing persons. Morals and plaster are red-handed like that. Whole fields of holograms have been planted all over, and they taste like nothing. We could always straighten out Ozymandias if parking structures werent so blinding. Teach him its rude to speak for others. Some men and women know a buried thing cant be forgotten before it surfaces. That dreams shouldnt move in the same lines of sight as trucks. They can even happen more than a mile off a freeway.

A drive is a Situationist International technique of rapid passage through an urban landscape to explore the impact the geography has on a persons emotions and behavior. This piece results from a drive that occurred the morning of Thursday, August 2nd in Southwest Detroit.

Matthew Polzin, A New Almanac, 2012.

Katie Grace McGowan, Fake It tillYou Make It, 2012, chair, Raspberry Pi, sensors, headphones, sound.

Kerri Reid, Diamonds of Detroit, 2012, 16 drawings, ink on paper.

Kerri Reid, Diamonds of Detroit, 2012, 16 drawings, ink on paper. Photo by Megan Major.

On the ground: Vincent Troia, Untitled, 2012, found image, black spray paint, tape. On the wall: Vincent Troia, Untitled, 2012, found materials. Background: Kerri Reid, Diamonds of Detroit, 2012, 16 drawings, ink on paper. Photo by Megan Major.

Left to right: Vincent Troia, Untitled, 2012, found materials. Kerri Reid, Diamonds of Detroit, 2012, 16 drawings, ink on paper.

Vincent Troia , Untitled, 2012, found materials. Background left to right: Chido Johnson, Detare, 2012, pen on paper, framed - Hembe, 2008, kitenge cloth, silkscreen. Photo by Megan Major.

Vincent Troia , Untitled, 2012, found materials. Photo by Megan Major.

Vincent Troia, Untitled, 2012, found image, black spray paint, tape.

Left to right: Chido Johnson, Detare, 2012, pen on paper, framed - Hembe, 2008, kitenge cloth, silkscreen. Photo by Megan Major.

Chido Johnson, Detare, 2012, pen on paper, framed. Photo by Megan Major.

Ashley Cook, Mother Tongue, 2012, construction paper. Photo by Megan Major.

Ashley Cook, Mother Tongue, 2012, construction paper. Photo on the left by Megan Major.

Sara Martinetti, Untitled, 2012, plaster. Photo by Megan Major.

Left to right: Sara Martinetti, Untitled, 2012, plaster. Sergio Verastegui, Un punto de donde todo parte y se expande (A point from which everything starts and expands), 2012, fir, bubble wrap, measuring tape. Photo by Megan Major.

Sergio Verastegui, Un punto de donde todo parte y se expande (A point from which everything starts and expands), 2012, fir, bubble wrap, measuring tape. Photo by Megan Major.

Sbastien Rmy, IN SEARCH OF THE MIRACULOUS, 2011, collection of postcards. Photo by Megan Major.

Sbastien Rmy, IN SEARCH OF THE MIRACULOUS, 2011, collection of postcards. Photo by Megan Major.

Megan Heeres, Fits and Starts, 2008, mixed media, dimensions variable. Photo by Megan Major.

Up: Megan Heeres, Fits and Starts, 2008, mixed media, dimensions variable. On the wall: Scott Hocking, various found objects from the project The Cauldron and Roosevelt Warehouse (2007-2010). Photo by Megan Major.

Scott Hocking, various found objects from the project The Cauldron and Roosevelt Warehouse (2007-2010). Photo by Megan Major.

Scott Hocking, various found objects from the project The Cauldron and Roosevelt Warehouse (2007-2010). Photo by Megan Major.

Jacques Derrida, Margins of Philosophy, translation: Alan Bass, University of Chicago Press, 1984.