The Bunker and a Concrete Oasis

Just south of Santa Maria on California's Central Coast and tucked into a hillside just south of Presqu'ile Wines, there is a concrete bunker that houses art exhibitions. I say that as matter-of-factly as I can because that is essentially what it is: a stunning, world-class space created by Presqu'ile and LAND (Los Angeles Nomadic Division) that is currently housing a solo show by Central Coast artist Cole Sternberg. Again, I'm writing this all in a very matter-of-fact way because I have to say not only was I surprised by the detour of my trip to the winery and a much-needed respite between finishing Issue 03 and moving into the busy Fall season, but our trusted co-publisher, Nisan Perera, told me that I had to go and see what this space was all about. And to put it simply, I felt like I was in the type of space that is known to be in the distant northern plateaus of New Mexico or a lauded space in Scandinavia, not my native California. In a time when the state is opening a bunch of beautiful new experiences for art (LACMA, the upcoming Lucas Museum), The Bunker is an extension of making art feel experiential in a considered space.

Sternberg had a task in taking on this space, because it definitely takes on a less-is-more expression. The space itself has a vibe, and Sternberg, along the high embankments with LAND at Presqu'ile, lets both his work breathe and the space be part of the show. The winds blew through the space when I was there, and the indoor-outdoor dichotomy felt connected to the work on display. Sternberg's premise was "How do we as humans reckon with the effects of our presence on this land? What might the land teach us? How do we learn to listen?"—and because you are balancing yourself between the land and the space and its open windows and tucked position into the hillside, you are considering these questions as you walk throughout. You hear your footsteps echo, you see the tapestries blowing in the wind, the paintings sort of surprise you on the concrete surfaces (loving this trend). But really, what you are considering and what you get here is that space matters and time matters. It is a surprising space that doesn't require a time limit or an hour. It feels connected to its location.

So much of what we are doing and seeing in the art world these days seems to be considering how we use spaces and how we create a place where art can be understood as part of a greater whole. Not just history, but location. Sternberg got that, and the curators and designers of the space understood that, too. I'm excited about this revelation and this direction. Art doesn't have to be where you think it should be, but it usually finds itself in the center of our history no matter where you look. That should be talked about more. —Evan Pricco