Derrick Cruz
Creative direction
Art & design
"Blessed is the Machine" and "Citizens: 192.186.195.115" Derrick Cruz, 2013Synthetic Paper, Nylon, Perbunan, Thermoplastic, Ceramic Coated Nickel, Thermoformed Polystyrene, Plotted Engraving, Acrylic, Dedicated IP Server, Digital Download 

"Blessed is the Machine" and "Citizens: 192.186.195.115" Derrick Cruz, 2013
Synthetic Paper, Nylon, Perbunan, Thermoplastic, Ceramic Coated Nickel, Thermoformed Polystyrene, Plotted Engraving, Acrylic, Dedicated IP Server, Digital Download

Silent Weapons for Quiet Wars
"Citizens: 192.186.195.115" , detail of DigiGrotesk engraving, Derrick Cruz, 2013

"Citizens: 192.186.195.115" , detail of DigiGrotesk engraving, Derrick Cruz, 2013

“The Sound of Knowing” Derrick Cruz, 2013 MRI film lathed with the sound of a 22 minute brain scan session, acrylic, wood

“The Sound of Knowing” Derrick Cruz, 2013
 MRI film lathed with the sound of a 22 minute brain scan session, acrylic, wood

Silent Weapons for Quiet Wars
“The Sound of Knowing” (detail) Derrick Cruz, 2013MRI film lathed with the sound of a 22 minute brain scan session, acrylic, wood

“The Sound of Knowing” (detail) Derrick Cruz, 2013
MRI film lathed with the sound of a 22 minute brain scan session, acrylic, wood

Press Release

New York, NY — Munch Gallery is pleased to present Silent Weapons for Quiet Wars, a group exhibition featuring new works by Derrick Cruz, Jeremy Dyer, and Luke Kranker.

Taking its title from the 1979 manifesto calling for the control of the masses through social engineering, the exhibition illustrates each artist’s preoccupation with the didactic as a counterbalance to mythopoeia in commercial and political messaging. Their works take the form of minimal plastic objects, stark black-and-white prints, and droning audio compositions created through a range of new and traditional media.

Cruz’s sculptures synthesize physical media formats believed to be obsolete, reflecting on the impact of technological advances on individuation. Inspired by dystopian science fiction, personal physical challenges, and thinkers such as Joseph Campbell and Jaron Lanier, Cruz manipulates religious and humanist aesthetic constructs to produce “an altar for projection and one for self-reflection.”

Dyer’s printed works engage the pastoral landscape as a site of collision. Constructed from original and found photography, his black-and-white images of menacing fires and collapsing beasts strive to reconcile an anachronistic past with what he considers “the inevitable something that is coming.”

Kranker’s sound collages are the byproduct of ten years of psychotropic experimentation and his study of controversial thinkers such as Terence McKenna and Timothy Leary. Inspired by “the darker aspects of the psychedelic experience,” his long-form, textural audio compositions create a space where “thoughts flow freely . . . and self-deception can be observed with sharpened clarity.”

"Separate the Shit from the Shinola" Luke Kranker, 2013

"Separate the Shit from the Shinola" Luke Kranker, 2013

"Monument" and "Jera (Blót)" (right to left) Jeremy Dyer, 2013Pigment print on cotton rag 30x30 inches

"Monument" and "Jera (Blót)" (right to left) Jeremy Dyer, 2013
Pigment print on cotton rag 30x30 inches

Silent Weapons for Quiet Wars
"Fimbulvetr" Jeremy Dyer, 2013Pigment print on cotton rag 30x30 inches

"Fimbulvetr" Jeremy Dyer, 2013
Pigment print on cotton rag 30x30 inches

"I Gave Gold for Iron" and "Surtr" (left to right) Jeremy Dyer, 2013Pigment print on cotton rag 30x60 inches

"I Gave Gold for Iron" and "Surtr" (left to right) Jeremy Dyer, 2013
Pigment print on cotton rag 30x60 inches