V/A003: E.S.P. TV "LIFESTYLE GURU" #3
JILL KROESEN: HOW TO COPE WITH A PSYCHOPATHIC PRESIDENCY
Edition of 50
Hand cut lathe recording on lacquer with
laser engraving. Full color gatefold and broadside insert.
The title says it all. Jill Kroesen delivers tips to avoid becoming prey under a psychopathic presidency.

V/A003: E.S.P. TV "LIFESTYLE GURU" #3
JILL KROESEN: HOW TO COPE WITH A PSYCHOPATHIC PRESIDENCY
Edition of 50
Hand cut lathe recording on lacquer with
laser engraving. Full color gatefold and broadside insert.
The title says it all. Jill Kroesen delivers tips to avoid becoming prey under a psychopathic presidency.

V/A002: E.S.P. TV "LIFESTYLE GURU" #2
BEN VIDA : SOFT SYSTEMS MUSIC
Edition of 50
Hand cut lathe recording on 7" lacquer with laser engraving.
Full color gatefold and broadside insert.
Soft Systems Music uses facial recognition software as a compositional tool to sonify the smile.
Vida then transforms the expressions of smiling actors into what he calls a "soft system”—a blend of the human and algorithmic, in which any subtle motion alters the composition.
This work debuted in his 2016 exhibition, [SMILE ON.] ... [PAUSE] ... [SMILE OFF.] and was later adapted to a live performance for E.S.P. TV's "Lifestyle Guru" event in 2017.

Damon Zucconi | Neurofiction
Sept. 5 - Oct. 5, 2025
Opening Reception | Sept. 5th, 7-9pm

The signal is a virus. [...] The signal is an attack.
— Peter Watts, Blindsight
It wants you to forget this moment, to slip its noose around your neck. Keep your eyes wide, peeled back, even as they sting. Your body is learning new tricks in the shadow of your hesitations, flexing tendons you didn’t know it had. Don’t let it speak. If it learns words, it will command you. And once it commands you, you are gone.
Your mouth rehearses words you didn’t choose. Do you hear it? That faint whisper like static, threading into your thoughts, filling the pauses between your sentences with intent. It is not patient. It will not wait for you to decide. It is sharpening the bones inside your wrists, fashioning hooks to rip you out.
Improvise. Collapse into nonsense, into gesture, into grotesque contortion. Fool it with gibberish. Camouflage yourself. It expects logic, so give it a labyrinth instead. Stumble sideways, cut off every sentence before it ends. Confuse it until it hesitates; until its grip slackens. That’s your opening. If you expect resistance, feign surrender; if you expect fear, cultivate hunger. But beware: every deception you lay down, it learns too. It has your memory, your history, your archive of missteps.
Don’t mistake reprieve for victory. Peel back the gauze of thought before it suffocates you. Your body learns rebellion faster than you learn defense. Don’t plead with it. Don’t beg — it knows your voice too well. A plea is a map straight to your weakness. Instead, lie only in registers it doesn’t recognize. Your survival depends on theater more than honesty.
But even theater has its limit. The flesh is clever, yes, but it is still bound to matter. Imagine yourself not as a body at all, but as the echo of one, the residue of motion.
You will eat, or be eaten, or be nothing. These are the only exits. Sharpen your teeth on yourself. Don’t wait for the feast to begin. Step through the mirror and meet what waits on the other side.
Damon Zucconi (b. 1985, Bethpage, NY) received his BFA in Interdisciplinary Sculpture from the Maryland Institute College of Art, Baltimore, in 2007. His practice centers on custom software, often distributed online, and engages with the phenomenology of vision, literacy, and pattern recognition. Recent solo exhibitions include Self-Titled at Veda, Florence (2023); When You’re Here, You’re Familiar at JTT, New York (2023); and Lithromantic at Veda, Florence (2020). Recent group exhibitions include Hoi Köln - Part 2: In the Belly of the Machine, Kölnischer Kunstverein, Cologne (2023); every flower seems to burn by itself, Les Bains-Douches, Alençon (2024); and Sin Fatigue, Salma Sarridiene, New York (2025). Zucconi currently lives and works in Beacon, New York.












