Carriage Trade


a group show concerned
with living space and alienation
curated by Peter Scott
Momenta Art, Brooklyn
March 21 - April 19, 1999

Betty Beaumont
Michelle Bertomen, David Boyle and Brooklyn Architects Collective
Hermann Gabler
Dan Graham
Larry Krone
Allan McCollum
Donna Nield
Mauricio Dias and Walter Reidweg
Heidi Schlatter
Peter Scott
Day Gleason and Dennis Thomas
Anton Vidokle


Nobodies Home is a group exhibition concerned with living space and alienation. The exhibition takes its cue from the current celebration of "lifestyle culture" so prevalent in today’s news and entertainment media, where an endless parade of magazine and television spots seems to reduce the image of life to one of Martha Stewart’s hypnotic discourses on domesticity.

With television news offering tips on which supermarkets to avoid, and newspapers offering lengthy articles on how to find the right contractor for your Upper West Side renovation, the only significant problems these days seem to revolve around consumption and decoration.

The artworks and texts for this exhibition have been chosen for their relevance to the alienation produced by an ever-expanding corporate capitalism that, in its tireless creation of new markets, is leaving an increasingly homogenized culture in its wake. Recognizing that this process is not taking place in a vacuum, the scope of the exhibition is intended to be broad enough to include reflections on shifts in economic and political agendas necessary to pave the way for the further progress of The Society of the Spectacle which, thirty years after Guy Debord first described the phenomenon, continues with what appears to be a renewed vengeance.

For the most part reduced to playing the important but obsequious role of cheerleader to these events, the major media, dependent on advertising revenue which in turn requires the allegiance of consumers, has become extremely adept at stimulating the public’s fears and desires in a largely successful bid to distract it from any doubts that might develop during infrequent moments of quiet reflection. Nobodies Home might be seen, in part, as an effort to entertain these doubts and expand upon them.

The artists chosen for this exhibition are not necessarily chosen because their work subscribes to its premise but on the basis of specific pieces that might, when seen in the overall context of the show, loosely describe the alienating effects these conditions might have on our cultural experience of a home.