Asuncion Lozano & Pedro Osakar| Citizens: Identity and Difference
CITIZENS: Identity and Difference, is a collaborative exhibition of work by Spanish artists Asuncion Lozano and Pedro Osakar. The exhibition includes work created expressly for this exhibition exploring the concept of identity and its social and political implications. No longer stable or predetermined, identity today is dependent on constant changes in our globalized contemporary world and subjected to the caprices of various governments. This exhibition considers the cultural conventions of gender and race, taking into account various strategies of image representation. Lozano and Osakar are also interested in analyzing our vulnerability when we expose ourselves publicly.
Matjaž Tančič | 3DPRK
Portraits from North Korea is a collaboration between Slovenian photographer Matjaž Tančič and Beijing based North Korean art specialists Koryo Studio. The exhibition explores the nature of governmental control versus the everyday lives of North Koreans. The photographs focus on the core of North Korean society – its people, and attempt to occupy a space free from sensationalism or idealization, as seen in the expression of a local shop worker to a portrait of a young woman wearing a bathing suit at one of the nation’s new leisure centers. While the portraits are oddly stoic, Tančič gives us a lot of detail in the frame and by looking through the viewer, we must spend time looking at the photograph in order to find a connection.
Florencia Walfisch | Time as Space
Time is a place. Fabric is a space I inhabit, a field of forces. I question the shape; something more than a fold, something less: love, pain. A drawing of bones sounds until I can hear. Each thread brings its own pulse. Lines open directions, color advances: magenta, blue, unknown. Tensing or releasing according to the compression of what’s to come. Going back is building a map. A silence in the plane can hold the landscape. Someone keeps the gestures which are yet to come. I am the first incision, the last one. Now it is a terrain. Time means we are moving in a still space.
Paz Perlman | Before Thought
Perlman scavenges discarded objects, which she often combines with more traditional materials like metal, wood, textiles, and paper. Her sculptures, installations and bricolage often resemble ruin-like grids which represent the continuous process of destruction and rebirth, insights stemming from her 20-year study and practice of Zen Buddhism and Taoist philosophy. In her artistic practice, Perlman relies on experimentation and intuition, treating her studio as a playground. By putting an emphasis on the process rather than the end result, her works are more of a question mark than a statement and allow the viewer to be part of her questing
One Clover and a Bee. And Revery
An all-women group show that takes its title from the Emily Dickinson poem, “To Make a Prairie,” and the artists included all draw on that ineffable element – creativity, inspiration, vision, or as Dickinson calls it, revery -- to create artworks in a range of media. The show includes videos ranging from the meditative to the humorous; photo-based work, both figurative and abstract; sculpture and installation work; drawings and collage.
Jörg Söchting | We Refugees
The paintings and textiles in Joerg Soechting’s series We Refugees began when he was working on a piece about labor that grew into a piece on refugees, two urgent and interconnected ideas that form the basis of this work.
Anderson Zaca | Block Party - The Contact Sheets, celebrating New Yorkers across race and class, sharing regional pride from different neighborhoods
Nothing says summer in New York like a block party. The streets are closed, the hot dogs are cooking, the bouncy castles are full of airborne kids, the beer is flowing, and so are the fire hydrants. To welcome summer, happylucky no.1 showed photographs from Anderson Zaca’s series Block Party: NYC Soul of Summer.
Carol Keller | OSTENSIBLY STABLE
Interested in the overtly physical acts of interruption, disruption, and radical revision that collage can offer, Carol Keller uses it to both build structure and intentionally undermine that structure. The collage process can constantly redirect a work, generating restless energy into an ostensibly stable form. Keller’s goal is to arrive at compositions that contradict themselves and refuse to settle too easily into secure relationships, but rather suggest latent or shifting possibilities.
Rey Parlá | Borderles
Influenced by painting, photography, and experimental filmmaking, Parlá uses photographic materials to create what he calls “Scratch | Graphs.” The photographic medium itself is the subject of his work, which combines kinetic painting with photographic techniques. Influenced by such avant-garde artists as Georges Méliès, Man Ray, Len Lye, Stan Brakhage, Tony Conrad, and László Moholy-Nagy, Parlá incorporates various technologies and unconventional materials into his work, remixing concepts from the art historical canons of photography and film.
The aesthetics of comics – the energy, the attitude, the bold colors and dynamic narratives, not to mention the drawing, in which evidence of the artist’s idiosyncratic and distinctive hand is clear -- have long been appreciated by artists who embrace those elements in their own work. The seven artists in this exhibition -- Reilly Brown, Simon Fraser, Tetsuo Hasegawa, David Klein, Ellen Lindner, Tiggy Ticehurst, and Demetrios Zissiadis – represent the dizzying visual and narrative possibilities of the form and as well as its wide-ranging aesthetic influences.
Wild Seeds will included artists whose work critically engages such topics as difference, the environment, corporatocracy, gentrification, immigration, debt slavery and what the future may hold if, in Butler’s words, we humans ‘don’t stop misbehaving’. These artists examine human conditions as filtered through the lens of Butler’s oeuvre, using her writing as a diving board into a pool of possibilities for imagining futures in the wake of present socio-political and cultural conditions of oppression and enslavement within the age of the anthropocene.
Katerina Marcelja | Sediments of Erratic Impulse
Marcelja’s organic, primitive forms are at once deeply familiar and viscerally unnerving, suggesting archetypal narratives about potential and transfiguration. Her tactile organisms – slugs or sea creatures, some tentacled, some not -- seem to be in a state of becoming, on the verge of metamorphosis.
Matthew Arnold | Topography is Fate
Large-scale photographs of World War II battlefields in North Africa by New York City-based artist Matthew Arnold.