March 1st 2013
Los Angeles, California.

All we need is an excuse. And the right conditions.

We, Public Fiction, propose to take on this assignment.
We’ll be your man in Los Angeles reporting fearlessly on the factual,

the fictitious and the imaginary.

First, we will set up shop, and inaugurate a place for us to call back from.

In this storefront we will invent an office and its functions, we will labor to

produce situations, happenings and dispatches on a weekly basis. We will

broadcast our experiments back into the world. In this improbable place of our

invention we will blend truth and tale for the benefit of either one person at a

time, or sometimes a crowd of many (in either circumstance we will provide cold

cans of beer and refreshing soft drinks for all).


Part residency, part business, part factory, part place of gathering,

a consistent buzz of activity is to be expected in the concrete walls of

our construct.

This improbable place is like the elaborate hoax in The Sting, an environment crafted

for the benefit (or perhaps the detriment) of a single gesture. It is the library

in Richard Brautigan’s The Abortion where anybody who writes a book can drop it off,

never to be read but always to be cared for. It is at its most basic a stand-in

for the territory of the page facing a writer about to write, the visions that

fill out sight and space for an artist. And it is open to the public.

For the next 8 weeks, we open as an office, a exhibition, publication, performance,

and residency. In collaboration with, & featuring Davide Balula, Neil Beloufa,

Andrew Berardini, Danielle Bustillo, Isabelle Cornaro, Nikki Darling, Travis Diehl,

Eve Fowler, Hedi El Kholti, Jonathan Lethem, Sarah Lehrer-Graiwer, Camille Henrot,

Nicolas Garait, Rita Gonzalez, Veronica Gonzalez Pena, Brian Kennon, Joseph Mosconi,

Aude Pariset, Bernard Piffaretti, Tif Sigfrids, Ivette Soler, Charlie White and more to

be announced shortly, we will hold events regularly (stay tuned),and launch weekly

dispatches. The latter are co-edited with Andrew Berardini.

During the course of this series, we will be hosting Tif's Desk, the Mountain

School of Art's library, plant life and happy hours by Ivette Soler,

a residency by Brian Kennon.

This project is generously supported by Ceci N'est Pas…Art Between France

and Los Angeles and Victoria Dailey who has donated to us our Risograph press.

The office will be open Thursdays and Fridays from 10am to 5pm, by appointment,

and other unpredictable hours…

Come visit.

(program below)





























On March 16th 5-7pm we will launch the first dispatch.

It will be quite casual, Happy Hour drink by Ivette Soler and the first of 6 dispatches

to be produced and presented in the space.
The dispatch will combine the work of Bernard Piffaretti and Charlie White


On the 23rd at 7pm We will host a reading on Tif's Desk at the Public Fiction office.
It will be of Semiotext(e)'s Veronica Gonzalez Peña's new book.

And at the same time we will launch a new dispatch (participants to be announced.)

Happy Hour drink by Ivette Soler


On March 29th at 7pm we will be screening a french film from 1964 entitled

La Dérive ( it is an event

curated by Hedi El Kholti. We will also be launching a new dispatch (to be announced.)

Happy Hour drink by Ivette Soler


On April 12th at 7pm:

An Evening Reading with Basim al-Ansar, Diana Arterian and Travis Diehl.

"Happy Hour" with Ivette Soler.


On April 21st at 6-8pm, preceding Paris Photo LA:

Unphotographic. Curated by Eve Fowler

Including the work of: Daphne Fitzpatrick, Nick Herman, Davida Nemeroff.


On April 27th and 28th we will host a secret restaurant with Joseph Mosconi, Rita Gonzalez



On May 6th at 8pm.

Fetish and Figure
Curated by Martha Kirszenbaum

Fetish and Figure brings together six films and videos by artists and filmmakers

that address both the fetishisation of objects and the exclusive relation between the

representation of objects and the body. Exploring the theme of "tableau vivant",

this program challenges the presence of the human body that disintegrates, allowing

objects to come to life on screen as the camera captures them. The proposed works

share a common approach of feminine iconography constructed around sophisticated

accessorizes - perfume bottles, enchanting jewellery and shimmering pieces of

clothing - while questioning images of voluptuousness and consumption and, finally,

reflecting on human solitude, existential melancholy and physical disappearance.


Program (approximate running time: 65 min):


Kenneth Anger, Puce Moment, 1949, 16mm, 7 min

Agnieszka Polska, Plunderer’s Dream, 2011, HD video, 3 min 56 sec

Isabelle Cornaro, Premier rêve d’Oskar Fischinger (Part 1 and Part 2), 2008,

2-channel 16mm transferred to minidv, 3 min 14 sec

Shana Moulton, The Galactic Pot Healer, 2010, video, 8 min 32 sec

Ulla Von Brandenburg, The Objects, 2009, super-16mm transferred to HD & Blu-ray, 5 min 37 sec

Ursula Mayer, The Lunch in Fur / Le Déjeuner en Fourrure, 2008, 16mm, 7 min 30 sec

The Twilight Zone, episode “The After Hours”, 1960, 30 min


Martha Kirszenbaum is an independent curator based in Paris, currently developing

a double exhibition project between Palais de Tokyo and Los Angeles Contemporay Exhibitions

ingrained in the visual influence of Henri-Georges Clouzot's L'Enfer and Kenneth Anger.