Girth Proof | Wickerham & Lomax at Dem Passwords


“I don’t know you, I use you.” — overheard last week at a club in Baltimore, MD

Dem Passwords Gallery is pleased to present GIRTH PROOF, an exhibition by Wickerham & Lomax.

Wickerham & Lomax have previously looked at collaboration through the lens of best friends, fashion designers, and show runners as surrogates for themselves. Most recently they have identified as gay dads who “gave birth” to a character named BOY’D, the primary figure of their sprawling, online narrative franchise BOY’Dega.

GIRTH PROOF belts this endless self-expansion and looks at what—and who—is being squeezed out. It began with a casting call for gay Bears. This subculture is at the center of the exhibition in so much that it is the material spread around four club flyers. Each image, printed on a 6′ x 10′ vinyl (referred to as “durables” by the artists), seems to promote one of four nights under such titles as Revenge, Anti-Gravity, Immaculate Conception, and Insecurity—all slated for 2018.

W&L consider the territory of the club, where these Bears have been placed, as a liminoid for potential customization. The detritus of disaster is reclaimed to form an antidote to the mundane. Bad behavior remaps the social codes of nightlife. These flyers list demands and promises the way all flyers demand and promise access and privilege. In Revenge, we’re seduced by PIG ROAST while a tiny cop awaits his fate in a jar. On the Insecurity flyer, we seem to be at a club in the desert along a country’s border where all DORAS DRINK FREE and there is NO COVER. All the flyers offer Keys 2the Khroma Klub, a distinct realm of BOY’Dega ( where the cast revel in the ruins of General Idea’s Chroma Key Club.

Weather report…

These durables push the typical layered visuals seen in actual club flyers over the edge of good taste. The images are variously pierced with digital grommets threaded with diamond necklaces, scaffolded with gold-studded planks scarred with text, split and then re-bound with trompe-l’œil laces. The gay hosts are under decorative assault and repair, and the viewer is invited to deal directly with the superficial—to “get into it” or get out.

Across from these four flyers is hung the largest work in the exhibition, a 23′ diagram: The Cave. Simply put, it is a digital club that rests idly on a flatbed truck. (A set piece from episodes 4–10 in transit to the backlot? A place designed perhaps for the BOY’Dega cast to enjoy?) Outside The Cave, the night sky is filled with anecdotes, rumors, and gossip about the artists’ practice. “BOND SALON was the easiest work we ever made.”

In the smaller back room of the gallery, rendered heads of our four hosts float inside their vitrines. ID cards reveal their assets and their talking points. There’s no time to determine whether this is the coveted VIP booth or a green room, a memorial or a rehearsal; the bar is flooding nearby. It is into this space between the real and the imagined, the character and the actor, the fan and creator, that Wickerham and Lomax project their art experience, the artworks providing a sort of systems analysis of the layered architecture that defines their digital and physical output.

Wickerham & Lomax
Jan 24 – Mar 7, 2015

Dem Passwords
5413 W Adams Blvd
Los Angeles
Saturday, January 24th, 2015
from 6 to 10 PM


Wickerham & Lomax is the collaborative name of Baltimore-based artists Malcolm Lomax (b. Abbeville, South Carolina, 1986) and Daniel Wickerham (b. Columbus, Ohio, 1986). Formerly known as DUOX, the two have been working together since 2009. W&L have developed a searching, nuanced practice that applies a keen critical intuition and fine-tuned irreverence to the problems and potentialities of our contemporary media ecology. Working across diverse media, curatorial platforms, and institutional contexts, they have created a body of work at once context-specific and broadly engaged with networked virtualities. W&L are particularly invested in questions of identity and the body, exploring the impact—profound, ubiquitous, ambivalent—of digital technologies and social spaces on the formation of subjectivities and speculative corporealities. Recent exhibitions by Wickerham & Lomax include the premiere of Encore in the AFTALYFE at the Artists Space booth, Frieze NY 2014, and BOY’Dega: Edited4Syndication for New Museum’s First Look series, as well as several solo shows: DUOX4Larkin, Artists Space, New York, Liste Exhibition, Contemporary Museum of Art, Baltimore, Break My Body, Hold My Bones, CCS Bard Hessel Museum, New York, MoMT: Museum of Modern Twink, GLCCB bookstore, Baltimore, and King Me, Open Space Gallery, Baltimore.

Recent Posts

A Conversation about Ergonomic Futures

Lafayette Anticipation associate curator Anna Colin talks to artist Tyler Coburn about Ergonomic Futures, a speculative project engaged with art, design, science, anthropology and writing. In this interview, Coburn discusses the research, production process and network of collaborators of a multilayered project ultimately concerned with the futures of humankind. Anna Colin: When one comes across your museum seats Ergonomic Futures (2016—) in contemporary art exhibitions—and soon in natural history, fine art, and anthropology museums—they look… [read more »]

nils lange + saliva : l’eau des algues

L’Eau des Algues Two alchemists already aware of each other’s Instagrams meet for the first time in a gay sauna. They are swimming; it’s the Hood By Air afterparty in Paris. They are Lukas Hofmann and Nils Amadeus Lange. Months later, they meet again. They are on the edge of yet another steaming pool; it’s the Manifesta Biennale closing event at Cabaret Voltaire. They are performing the perfume titled “L’eau des Algues.” Head notes: Zürich… [read more »]

Toward a Low Key Voting System Where Votes Are Actually Considered | Adrian Massey

While reading A Very Short Introduction to Game Theory, I came across the following passage, “If you want people to vote, we need to move to a more decentralized system in which every vote really does count enough to outweigh the lack of enthusiasm for voting which so many people obviously feel…Simply repeating the slogan that ‘every vote counts’ isn’t ever going to work, because it isn’t true.” I was jarred. For me, anecdotally knowing… [read more »]

Tough Luck | Tyler Reinhard

When life is being super unfair, just do what we all do: suffer the consequences. I wake up and the first thing I do is check my phone. A convenient euphemism for using Facebook’s machine learning techniques to discover which 300 entries are statistically most likely to stand out from the tens of thousands of brain dumps my friends and family have produced over the last 48 hours. Impressed by what Facebook provides, I think… [read more »]

America Is Hard to See: A Guide to not being depressed about US electoral politics this November

In order to make sense of state politics in the birthplace of statistical marketing and the internet, one has to be wary of the effects of these technologies on the country’s popular media. In a time when our news and advertisements are tailored to our pre-recorded political opinions, it can be especially difficult to empathize with differing political views. Likewise, learning about the histories of state politics is not encouraged by platforms that profit from… [read more »]

On self-care and the election | Eva Saelens

We can get together and laugh about it. We can heave sighs and express disbelief, but it’s never enough. This presidential election year has lasted for years, and they sit on citizens like a slick film. We feel touched by an unshakable germ, invaded by a blood-sucker, afflicted by a social cancer, drained of the plump vitality of life and the amazing liberty of choices, and transformed into a cynical, depressed shrivel. After being touched… [read more »]

Swarovski Crystal Meth at National Sawdust

Swarovski Crystal Meth, a collaboration between Ser Serpas, Daniela Czenstochowski and Gia Garrison for the National Sawdust “Selkie Series” performances, curated by Alexandra Marzella. Music composed and produced by Daniela Czenstochowski Poem by Sera Serpas Sound Edit Mateo Majluf Vocals Sera Serpas, Gia Garrison and Daniela Czenstochowski All Images Olimpia Dior i went to the desert con mi mama outlet store shopping is fried onto mi conciensa, big bags, wins bigger losses fragmented lux economy… [read more »]

Hasbeens and Willbees Auction @ Romeo Gallery

Shop items from the most recent Hasbeens and Willbees luxury auction now! Featuring Bjarne Melgaard, Bror August, Women’s History Museum, Lou Dallas, Hermes, Gautier, and more. All photography Dillon Sachs Styling Avena Gallagher Hosted by Rome Gallery NYC


What is a piece of clothing that “works”? Who is working whom? Is the one who poses the one who actually “works” hardest? The S/S 2017 collection of Berlin-based, Swedish- Vietnamese designer NHU DUONG entitled ‘WORK COLLECTION’ plays with the ideas of professionalism, leisure and appropriateness through a range of garments that are inspired by work outfits and hobby uniforms. Overalls, raw denim outfits, kung-fu pyjamas, biker pants, baggy tights and gloves, bomber-jackets, bomber suits,… [read more »]

Preparing to Welcome the Chthulucene | Agustina Zegers

Preparing to Welcome the Chthulucene is a text made up of living exercises to accompany Haraway’s theorization of the Chthulucene and her upcoming book Staying With the Trouble: Making Kin in the Chthulucene. Haraway posits that not only should we name the Anthropocene carefully (including the terms Capitalocene and Plantationocene within its narrative) but that we should also be using this crucial ecological timeframe to move towards a dynamically multi-species, “sym-chtonic“, sym-poietic future: the Chthulucene.… [read more »]