Author: radiator

Trabajo de Sombra (Shadow Work)

April 24th – May 29th

Kara Rooney and Néstor Quiñones 

Curated by Bárbara Perea (MX) and Charlotta Kotik (NY).

Interdependency now

February 21 through April 3 ,2020

Opening 6 to 9 pm Friday, February 21, 2020
 
Artists: Eirini Linardaki, Jenny Marketou,
Vincent Parisot, Peter Soriano

Fanzines and editions: Julien Gardair, Tattfoo Tan
Panel discussion: Juanli Carrion
Interpretive participation by Maria Dimanshtein

Curated by Eirini Linardaki and Jenny Marketou

During several discussions Eirini Linardaki and Jenny Marketou co-curators and participating artists discussed terms of interdependency, participation, performance, collaboration in relation to art and social practice. They began by asking how they could bring together sustainable relations among themselves, the artists/curators, and most important with their audiences from the diverse communities across the five boroughs of New York City. They reflected on artistic actions as political and social forms in the context of contemporary art discourse, as well as, within their work and the works of other artistsThey envisioned Interdependency Now being an exhibition based on the potential of participatory, performative and socially engaged practices. Interdependency means to learn from one another; to take care of one another; to cultivate human exchanges; to change perspectives; to overcome differences in experiences of everyday life. One of the things contemporary art can help make visible is how creativity resides within our society in multiple ways. Our connectivity with each other. Our environment is not a linear process of development, as it is a process in which we are all relational and interdependent beings. As Judith Butler, American philosopher mentions the idea of Interdependency establishes a principle of equality and connectedness. (1)
 
Interdependency Now brings together the works of artists who contribute to this participatory experience which takes place from February 21st through April 3rd, 2020 at Radiator Gallery in Long Island City.
 
 
Eirini Linardaki and Vincent Parisot are creating a common installation titled “Monkey meets war”. They are combining magnetic fragments of drawings and collages both from previous explosions and faux marble drawings of dismembered monkeys. The fragments can either be assembled into separate drawings or be messed up to create abstract collages. For a long time, the artists thought about the techniques each one is using in their installations. Vincent practices drawing and painting inspired by intriguing objects interrogating our perception of heritage and nature. Eirini works with patterns from countries in war and is using imagery from disasters and explosions to speak about our human condition, tragedy and our psyche in war. Under the auspices of interdependency, they have decided to join their works in one installation, intertwining their materials, techniques and practices. They are displaying them in a way that the visitors become the authors of the images that are created anew from their fragmented artworks. 
 
Jenny Marketou creates a new iteration of Evergrowing through my city originally realized for The Garden. It is her ongoing art & praxis initiative for youth in Athens which was presented during the School of Everything, Parliament of Bodies, Documenta 14, Athens/Kassel. Evergrowing through my city is an ephemeral sculptural intervention meant to be constructed over time with the participation of the audience which develops the artist’s interest in working with models and infrastructures for play and civic engagement. Jenny’s inspiration has been Karl Johansson’s (1890) self-stabilizing prototypes of the tensegrity construction systems in which each part is essential to the function of the larger structure. Evergrowing through my city is made out of tensegrity units of wooden sticks, knotted together with elastic threads, colorful yarns, found materials, and objects. Throughout the exhibit participants are offered the opportunity to build and add their own colorful wooden units, to attach found objects, textures and material. A digital data system compiles all of the objects along with the names of participants. By the end of the exhibition, the evergrowing construction becomes whimsical and joyful embodying the character of the participants by the construction of relationships with the elements that have been used.
 
Peter Soriano whose work is instructional based wall drawings contributes with a work titled ““Jungfrau- Aletsch””. It is a section of a larger wall drawing project that he will exhibit this summer in the Université de Bordeaux. The work is based on observations and the experience of being on a glacier last summer, and forms part of a larger project observing melting snow. More specifically he focuses on the large cracks that form on the ice surface. During the exhibition Peter intends to complete the wall drawing with the help and interpretation of other participants. These individuals will choose from a large selection of preselected marks, to complete the drawing as they see fit.
 
During the exhibition there will panel discussions, artists talks and readings.
 
Juanli Carrion’s participation takes the form of a panel discussion that he organizes titled OSS Project Inc: Community + Conflict + Art = Garden .The panel addresses public gardens as art, interventions, using urban farming, storytelling, educational programming and community building as means to address sustainable social or political structures and art practices.
 
Julien Gardair participates with a series of Fanzines and Tattfoo Tan is offering reading possibilities with his current editions.
 

Bios

Eirini Linardaki was born in Athens and studied in Limerick L.I.T., Ireland, Berlin and Marseille. She lived in France for more than twenty years before moving to the island of Crete, where she is based now, developing projects within the city and questioning the relation between public policy and art.
 
Vincent Parisot is a visual artist born in France, he lives in Heraklion, Crete. He realizes projects in situ, in the public space and at the same time develops a practice of drawing. He is inspired by the correlation of movement in urban areas, ready-made objects that help him produce minimal artistic interventions in the public space.
Their common public art projects are on view in Paris, New York, Nigeria, Liberia, Athens and on the island of Crete.
 
Jenny Marketou born in Athens, Greece based in New York is an interdisciplinary artist, researcher, author and activist. She understands her artistic practice as the practice of enabling, of making possible, unearthing, opening, performing, playing and channeling ideas and energies in developing  sustainable social, pedagogical  structures and art practices. Her art projects have been exhibited and her videos screened in International Art Biennials, museums and galleries worldwide. She is the co-editor of “Organizing from Below/How Assemblies Matter? (2017) Naked Punch (London) and contributor to “Performing Interdependency” (2017) with Zurich University of Arts, School of the Arts and Design,Kassel  and  ASFA in Greece.
 
Born in Manila, Philippines, Peter Soriano received his B.A. in Art History from Harvard College and studied at Skowhegan School of Painting and Sculpture before moving to New York City in 1981. Represented in Paris by Galerie Jean Fournier and in New York by Lennon, Weinberg, Inc., his work has been widely exhibited with recent solo shows at CIRCUIT Centre d’art contemporain in Lausanne, Domaine de Kerguéhennec in Brittany, Busan Biennalle in South Korea, and, at the Colby College Museum of Art in Maine. Works by the artist are included in The Morgan Library and Museum, Harvard Art Museums, Colby Museum of Art, Fonds national d’art contemporain (FNAC) in Paris, Fondation Cartier pour l’art contemporain, and the Wanås Foundation in Sweden, among other institutions.

Juanli Carrión is an artist, researcher and activist whose work unfolds in the development, research and education of community engaged design and artistic practices. He is currently focusing on the research of practices that expand beyond the art/design realm to become policies, non-profit organizations, associations, groups, or other sustainable social or political structures and practices, with the aim of translating the results into pedagogical strategies.

 
Julien Gardair extends his studio practice into editions playing with the hand made and the mechanical, the unique and the multiple, digital and analog, abundance and scarcity.
 
Artist Tattfoo Tan’s practice focuses on issues relating to ecology, sustainability and healthy living. His work is project-based, ephemeral and educational in nature. Tan has been widely recognized for his artistic contributions and service to the community and is the proud recipient of a proclamation from the City of New York.
 
 
Notes
 
1 Judith Butller and Athena Athanasiou, Dispossession: The Performative of the Political, Cambridge, Polity Press, 2013

 

PRESS RELEASE

CHECKLIST

PRESS KIT

NEWSPRINT

ARTWORKS

OPENING

Freaks, Geeks, and Strange Girls

Curated by Peter Gynd

November 15, 2019 – January 17, 2020

Opening Reception: Friday, November 15, 6–9pm

Freaks, Geeks, and Strange Girls is a solo exhibition of new works by Jody MacDonald. A merger of fact, fiction, and art history, MacDonald’s sculptural dioramas explore a set of characters on the fringe. The work takes its influence—along with the exhibition’s title—from a book of the same name published in 1996 showcasing an anthology of banners, backdrops and advertisements created for 19th and early 20th century American sideshows. These banners serve as a jumping off point for MacDonald to muse on her own imaginative absurdities and bring a set of fictional characters and circumstances into play.

MacDonald’s sculptures tell a story the viewer seemingly enters into halfway through. Each diorama is intensely crafted and layered with minutely detailed elements that—when read collectively—offer a deeper understanding of each character’s fundamental traits and desires. The works, with titles like Dogfaced Boy, The Clown, or The Hermaphroditic Goat, pull reference from actual advertised sideshow acts and expand upon each narrative, inserting situations of MacDonald’s creation.

Each piece is layered with details thoughtfully inserted by MacDonald to take the viewer down the rabbit hole with her. They demand attention—and reward it—with details such as the miniature magazines in Dogfaced Boy, complete with headlines and readable text, including a purpose-written article by the artist. Or the IKEA-like instructions for fictional products such as “SKÄRA” or “KAPA” (translating to “cut and “sever” in english) found in the piece Conjoined Twins.

The artworks meld sideshow influence with contemporary culture and art history; backdropped by scenes of recognizable artworks such as Édouard Manet’s Bar at the Folies-Bergère, David Hockney’s Portrait of Nick Wilder or, in the work Monkey Grrl—a half-monkey half-girl boxer staged for the prize fight—MacDonald’s own homage to the Guerilla Girls and the fight of women artists to gain their proper recognition in Art’s main ring; the title also a nod to the punk feminist movement Riot Grrrl of the 1990s.

MacDonald’s sculptures become a performative set of complex identities that can be read as a reflection of our own culture. They are mirrors—symbolic reflections to a claim of “realness”; a fun house distortion of reality, with each characters’ likeness a slightly distorted—but recognizable—photo-transfer image of the artists’ own face.

***

Freaks, Geeks, and Strange Girls will be Jody MacDonald’s first solo exhibition in New York.

Bios:

Jody MacDonald is an artist whose art practice is an ongoing exploration of identity, hierarchies, and stereotypes characterized by dark humor and an obsessive attention to detail. Her fastidiously crafted work has been exhibited in galleries and artist-run centers across Canada and the US, with solo shows at Galerie Connexion, Fredericton, NB; Acadia University Gallery, Wolfville, NS; Latitute 53 Contemporary Visual Culture, Edmonton, AB; Campbell River Art Gallery, Campbell River, BC; and Fifth Parallel Gallery, Regina, SK. Her mixed media drawings, paintings and sculptures are held in numerous private collections throughout Ontario, British Columbia, and New York. MacDonald is a graduate of the Emily Carr University of Art + Design and is a recipient of a 2019 New Work Grant from the Queens Council on the Arts. She is currently based in LIC, Queens, NY.

Peter Gynd is a fifth generation artist, independent curator, and the director at Lesley Heller Gallery in Manhattan’s Lower East Side. Notable exhibitions curated by Gynd include a permanent exhibition at the Foundation Center, NY; an acclaimed two-person presentation at SPRING/BREAK Art Show (2015); and group exhibitions at Present Company, NY; NARS Foundation, NY; the Northside Festival, NY; Lesley Heller Workspace, NY; and at the Dynamo Arts Association, Vancouver Canada. Gynd’s exhibitions have been featured in Hyperallergic, The Carnegie Reporter, Blouin Artinfo, and Gothamist. Peter Gynd has been a guest critic at Residencies Unlimited, Kunstraum, ChaNorth Artist Residency; a consultant at NYFA’s Doctors Hours; guest lecture at Pratt Institute; and guest juror at 440 Gallery, Equity Gallery, Sweet Lorraine Gallery, and the second edition of Art Fair 14C (2020).

***

The works in this exhibit are made possible, in part, by the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

CHECKLIST

PRESS RELEASE

ARTWORKS


OPENING RECEPTION
ARTIST TALK

On the Inside: Dogfaced Boy video here
On the Inside: The Hermaphroditic Goat video here
On the Inside: The Red Thread video here.

Opening night video here

To look at the sea is to become what one is.

September 20 – November 8, 2019

Opening Reception: September 20th 6-9 pm

Manal Abu-Shaheen & Oscar René Cornejo

Curated by Laura August

 

Funneled by the persistence
of waves, the sea recoils
just to the line of the horizon

The heart establishes its equations
while history rules itself
in the next room

–Etel Adnan, from “The Sky that Isn’t”

 

Pairing photographs by Manal Abu-Shaheen and sculptures by Oscar René Cornejo, To look at the sea is to become what one is considers ways of understanding place, somewhere between vision and memory, emotion and history, self-making and post-war forgetting. Together, Abu-Shaheen and Cornejo consider how we describe places that are impossible to return to–at least in the ways we remember them–despite their central importance in our emotional and intellectual lives. For both Abu-Shaheen and Cornejo, landscape and its materiality become a way of understanding what it means to be a post-war subject, or to come from a family fleeing conflict: both artists’ practices consider what we know about a place, a landscape, and its fluidity over time. Titled in homage to poet Etel Adnan, the exhibition finds the ghosts of the past in our intimate connections to the landscapes around us. These phantoms wander sites of ruin and reconstruction, touching the edges of how we understand ourselves, far from home and up against the constant movement of histories.

Cornejo’s sculptures, made at the scale of the human heart, continue his longstanding interest in the materials of construction as metaphors for displacement and resilience. He works with paired objects made of cotton, fresco, wood, handmade paper, and woodblock prints. Many of the objects hold plants and flowers; they are made at the scale of the things we can carry with us in crisis, and they enact the enigmatic healing force of portable, personal altars. Abu-Shaheen’s photographs follow the lives of her brother and his children at their farm in rural Pennsylvania. As structures crumble and are rebuilt, the children make worlds for themselves in costumes, collections of objects, and outdoor play. In their intimacy over a span of many years, the photographs allow the brave embrace of one American dream to abut the insistent difficulty of building a life far from home. Seen together, the works connect in their deep relationships to color and material, to scale and the quotidian. But they also remind us of the journeys so many of our elders have taken, so many of our beloveds still take. To be “in the heart of the heart of another country,” as Adnan writes, is to understand the depths of loss, to experience linguistic and cultural separations impossible to describe, and yet, still, to stitch together a life of both or many places. To look at the sea is to study one’s vulnerability, to embrace endless movement, to feel distance, and yet, still, to find the center of the self, even in the heart of constant change.

Manal Abu-Shaheen (b. 1982, Beirut) is a Lebanese-American photographer currently living and working in Queens, NY. Her recent solo exhibitions include 2d Skin, Soloway, Brooklyn, NY (2019), Theater of Dreams, Bernstein Gallery, Princeton University, NJ (2018) and Beta World City, LORD LUDD, Philadelphia, PA (2017). Her work has been included in group exhibitions at Amelie A. Wallace Gallery, SUNY Old Westbury, NY (2019); The Society of Korean Photography, Seoul, Korea (2017); Queens Museum, NY (2016); and The Bronx Museum of the Arts, NY (2015). She is a recipient of the Jerome Hill Artist Fellowship (2019), NYSCA/NYFA Artist Fellowship (2019), Aaron Siskind Foundation Individual Photographer’s Fellowship (2017), LMCC Workspace Residency (2016), A.I.R Gallery Fellowship (2016), and AIM Residency at the Bronx Museum (2015). Abu-Shaheen holds a B.A from Sarah Lawrence College and M.F.A in Photography from Yale School of Art. She teaches at The City College of New York.

Oscar René Cornejo (b. 1982, Houston, TX) earned an MFA from Yale School of Art (2011), a BFA from the Cooper Union (2005), and was a recipient of the J. William Fulbright Scholarship for research in El Salvador. In 2004, he cofounded the Latin American Community Art Project (LA CAPacidad), where for seven years he directed summer artist residencies to promote intercultural awareness through community art education. His work has been included in numerous exhibitions, including White Flag, at Princeton University’s Woodrow Wilson School of Public and International Affairs (2017), Collective Solid, Deborah Colton Gallery, Houston, TX (2015); and Parliament of Owls, Diverseworks, Houston, TX (2015). Cornejo has completed residencies at the Skowhegan School of Painting and Sculpture, where he has been a member of the staff since 2015, and at Lower Manhattan Cultural Council in 2016.

About the curator:
Laura August, PhD makes texts and exhibitions, often around shared geographic and metaphorical landscapes. Since 2016, she has been working on mud, stones, and the sounds of storms; she is currently at work on a book-length essay about corn, mud, and historical violence in the middle of the Americas. Her projects are collaborations with artists, poets, activists, loved ones, and those we have lost. In 2017, she received The Creative Capital | Andy Warhol Foundation Arts Writers Grant for her writing in Central America. She served as critic-in-residence at the Core Program at The Museum of Fine Arts, Houston from 2016-2018, and she has written for numerous international journals, magazines, exhibition catalogs, and artist monographs. Her curatorial projects have appeared at artist-run spaces, galleries, museums, public sites, and universities in the U.S. and Central America. She is founding director of Yvonne, a residential project space in Guatemala City, where she divides her time with Houston.

Oscar Cornejo Catalog

PRESS RELEASE

ARTISTS BIOS     CHECKLIST

ARTWORK

OPENING RECEPTION

LAST DANCE

Closing event of the exhibition Try to Hold Your Gaze Steady

We are delighted to invite you to our final gathering on Friday evening at the Radiator Gallery.
The artists of the exhibition will activate the space with noise, movement and language in its blended forms.
Come, dance and Try to hold your gaze steady while reality falls apart and comes back together, or maybe not.

Friday: 05/03/19 6-10PM

6-6:30PM
Curatorial walk through with Viola Lukacs

7:30PM
Performance on site: Skin Depth–Yitian Yan
Guitar solo: Chi Wang
Poetry reading: Lan Xu
Live music: Dollies ii
Minimalist electronics sound and light set: Thomas Dexter
Performative reading: Zsuzsanna Varga-Szegedi

Try to Hold Your Gaze Steady is a group exhibition where the digital image undergoes irregular fluctuations in physical motion. Such an encounter negates the disembodied nature of digital technology and initiates an important rupture within the established fields of visual perception and representation.

The logic of the digital photograph is one of historical continuity and discontinuity. The digital image tears apart the net of semiotic codes, modes of display, and patterns of spectatorship in modern visual culture–and, at the same time, weaves this net even stronger. The digital image annihilates photography while solidifying, glorifying and immortalizing the photographic – claims Lev Manovich in his early writing Photography after Photography.

The exhibition examines this conflict in recent and remastered works by Thomas Dexter, Harm van den Dorpel, Zsuzsanna Szegedi and Lan Xu. The artists in this investigatory show treat the digital image as material, and its qualities and properties as one, extant question that may be concerned with perception, representation and the conservation of the digital image. Each artist has a radically different mode of interaction with the medium.

Artist and performer Thomas Dexter’s work has been featured at the Guggenheim and PS1/MOMA. This time he creates a series of videos with a miniature “POV” action-sports camera attached to the end of a consumer cordless power drill. The gradual acceleration of the camera movement turns landscapes into contemplative mandalas that unveil the often invisible transmission between figuration and abstraction. As viewers struggle and fail to maintain spatial hierarchies, the process reveals the limitations of human perception.

Berlin based artist Harm van den Dorpel is known for his “left gallery” project that uses blockchain to open new possibilities for the production and distribution of digital art. The present video work Three Sleepwalkers applies his typical blend of manipulated and reconfigured visual elements taken from a number of sources to critically explore quotidien life and meme culture.

Zsuzsanna Szegedi-Varga imagines new subjectivities and post-human bodies in a series of photographic works where the Iphone’s camera becomes an expanded brush. Through gesturally outpacing the camera’s panoramic “image-stitching” algorithm, these works playfully collapse distinctions between subject and milieu, drawing attention to the fluidity of identities.

Artist and DJ Lan Xu translates semiotic codes and grids taken from digital culture into a performative installation. Handcrafted objects, textural neon tubes link with New Age “deep image” poetry boosted with dance. This is the celebration of the possibilities to immerse in a collective experience beyond physical space and time.

Artists: Thomas Dexter, Harm van den Dorpel, Zsuzsanna Szegedi-Varga, Lan Xu

Curator: Viola Lukács

IMAGES

The Immigrant Artist Biennial: A Soft Launch Fundraising Event

Friday, May 17 2019 6-10pm

Please join us for our inaugural event celebrating the launch of The Immigrant Artist Biennial (TIAB), a multi-disciplinary, large-scale exhibition of critically-engaged contemporary art made by immigrant artists, debuting in 2020-2021 in NYC. Radiator Gallery will host the first in a series of TIAB “soft launch” fundraising events slated for Spring /Summer/Fall 2019, and will include live performances, small works auction as well as a welcome address by TIABFounding Director and Curator Katya Grokhovsky. Refreshments provided.

Live performances:

7-8 pm – Pei-Ling Ho

8.30 pm – Tina Wang

Small works for auction donated by:

Yali Romagoza, Daniela Kostova, Elena Chestnykh, Shay Arick, Shayma Aziz, Katya Grokhovsky, Tamas Veszi, Ming-Jer Kuo, Jodie Lynkeechow, Sophia Chizuco, Nazanin Noroozi, Luisa Valderrama

Please consider donating to TIAB:

GoFundme

NYFA Fiscal Sponsor

https://www.theimmigrantartistbiennial.com/

IG: theimmigrantartistbiennial

FB: The Immigrant Artist Biennial-TIAB

 

Our mailing address is: 10-61 Jackson Ave, LIC, NY 11106

Tel: 347.677.3418

Email: info@radiatorarts.com www.radiatorarts.com

Copyright © 2015 RadiatorArts All rights reserved

The Cured

 

June 7th – August 11th, 2019

Opening Reception: June 7th, 2019 6 pm – 9 pm

 

Curated by Tansy Xiao

Artists: Suzanne Anker, Kathy High, Pablo Garcia Lopez, Anh Thuy Nguyen, Eva Petric

 

Radiator Gallery is thrilled to announce The Cured, a group show featuring 5 artists whose works delineate the coherent relationship between social politics and the ethics of biological studies situated in a postmodern context, in the hope of raising the questions on the dynamic and ambiguous nature of being human.

As classic philosophy fades away, said Heidegger, cybernetics becomes a philosophy for the twentieth century. Heidegger claimed that, full-ˇblown technicism dissolves even objectivity, turning beings into “standing reserve” in the service of the will to power. Its application on biology is apparent: medical systems were established in order to control. From the notorious lobotomy to your everyday orthodontic braces, state-ˇfunded medical researches have turned into either propaganda or profitable commodities. The entire society expects to be cured, corrected, and optimized.

In fact, the ethical concerns in biological researches have always been controversial: to which extend do we allow technology to rewrite nature, in order to create and to meet new criteria of living, and how far can we go. Back in the days, the racial policy of Nazi Germany developed a set of policies and laws based on a specific racist doctrine asserting the superiority of the Aryan race, which claimed scientific legitimacy. With the new acquisition of power of genetic modification today, by suggesting that one set of genes is superior to another, we’re still skating on thin ice.

As Eva Petric placed the tissues of a real human heart under a crystal dome, the artist reminds us that a heart can survive alone in a container of oxygen. But is the functioning of vital organs really a life? The debates on the necessity of euthanasia have been brought to the public attention more than ever before. Pablo Garcia Lopez on the other hand combined microscopic images of brain cells with fragments from Goya’s bleak and haunting Black Paintings that were associated with PTSD, illustrating the weaponization of modern day neuroscience. By magnifying the images of stem cells, Suzanne Anker centers the consideration of the ethics of research involving the development, use, and destruction of human embryos. However our own species is not the only one that has been impacted by the biological studies. Kathy High created delicate glass globes in the shape of white blood cells, hosting the ashes of transgenic lab rats to ritualize their contribution to science in a sympathetic way. Last but not least, an installation that includes two shoulder pads with the texture of flesh and blood, suggesting a trapped body in the size of the artist’s own-ˇ-ˇAnh Thuy Nguyen visualizes the political nature of a body and narrates the dilemma between a preassigned identity and a chosen one.

Opening night performance Smile, Please by Winnie Yoe, an artificial intelligence device that provides the prevention and correction of socially under-ˇqualified smiles.

**A large percentage of sales from selected artworks will be donated to local charities including The Fibromuscular Dysplasia Society of America & The Johns Hopkins Center for Alternatives to Animal Testing.

Check out a video from the opening reception here. 

 

ARTISTS BIOS      CHECKLIST          PRESS RELEASE

 

ARTWORK

OPENING RECEPTION

Post Armory Brunch

March  10th 2019  12.30 – 3:00 pm at:
Radiator Gallery, 10-61 Jackson Ave, 3rd Floor 11101

Dear Friends,

Join us for Sunday brunch and salon with artists Thomas Dexter, Zsuzsanna Szegedi-Varga, Lan Xu and curator Viola Lukács.  Please check out works at http://www.radiatorarts.com/try-to-hold-your-gaze-steady/

Coffee, Bagels and Cocktails will be served.

About the exhibition
February 22 – April 19, 2019
With participating artists: Thomas Dexter, Harm van den Dorpel, Zsuzsanna Szegedi-Varga, Lan Xu Curator: Viola Lukács.

Try to Hold Your Gaze Steady is a group exhibition where the digital image undergoes irregular fluctuations in physical motion. Such an encounter negates the disembodied nature of digital technology and  initiates an important rupture within the established fields of visual perception and representation. 

The logic of the digital photograph is one of historical continuity and discontinuity. The digital image tears apart the net of semiotic codes, modes of display, and patterns of spectatorship in modern visual culture–and, at the same time, weaves this net even stronger. The digital image annihilates photography while solidifying, glorifying and immortalizing the photographic – claims Lev Manovich in his early writing Photography after Photography.  

The exhibition examines this conflict in recent and remastered works by Thomas Dexter, Harm van den Dorpel, Zsuzsanna Szegedi and Lan Xu. The artists in this investigatory show treat the digital image as material, and its qualities and properties as one, extant question that may be concerned with perception, representation and the conservation of the digital image. Each artist has a radically different mode of interaction with the medium.  

Artist and performer Thomas Dexter’s work has been featured at the Guggenheim and PS1/MOMA. This time he creates a series of videos with a miniature “POV” action-sports camera attached to the end of a consumer cordless power drill. The gradual acceleration of the camera movement turns landscapes into contemplative mandalas that unveil the often invisible transmission between figuration and abstraction. As viewers struggle and fail to maintain spatial hierarchies, the process reveals the limitations of human perception.

Berlin based artist Harm van den Dorpel is known for his “left gallery” project that uses blockchain to open new possibilities for the production and distribution of digital art. The present video work Three Sleepwalkers applies his typical blend of manipulated and reconfigured visual elements taken from a number of sources to critically explore quotidien life and meme culture.

Zsuzsanna Szegedi-Varga imagines new subjectivities and post-human bodies in a series of photographic works where the Iphone’s camera becomes an expanded brush. Through gesturally outpacing the camera’s panoramic “image-stitching” algorithm, these works playfully collapse distinctions between subject and milieu, drawing attention to the fluidity of identities.

Artist and DJ Lan Xu translates semiotic codes and grids taken from digital culture into a performative installation. Handcrafted objects, textural neon tubes link with New Age “deep image” poetry boosted with dance. This is the celebration of the possibilities to immerse in a collective experience beyond physical space and time. Try to hold your gaze steady while reality falls apart and comes back together, or maybe not.

Hypervirtuality Upcoming Special Events

Saturday, January 26th 2-4PM
Hypervirtuality tour

Radiator Gallery in coordination with KAB (Korean Americans of Brooklyn) is pleased to organizing a FREE family-friendly tour of Hypervirtuality on Saturday, January 26,  2-4PM.  Please join us for an afternoon of kid-friendly interactive art experience that explore the themes of physical and virtual realities and how the artists use technology to examine and understand their relationships to one another and their surroundings in the digital age. The curator lead Gallery Tour will start promptly at 2PM. 

Friday, Feb 1st 6-9 PM
Soundscape Performance with by Crew Called Shelf

Please join us for an exciting soundscape performance with by Crew Called Shelf on Saturday, February 1, 6-9pm. Multimedia producer and DJ @crewcalledshelf will be performing a live experimental sound session to coincide with the Hypervirtuality exhibition.

 

Crew Called Shelf will be manipulating a collective of analog machines and employing a variety of audio synthesis techniques to create a soundscape of controlled but random frequency modulations to interact with the sound and light elements in the exhibition.

 

About the exhibition:
Hypervirtuality presents a mash-up of physical reality and virtual reality created by three artists that utilize technology to examine and understand our relationships to one another and our surroundings in the digital age. The artists present narratives that explore diverse interrelated environments that are natural, virtual, social and political. 
  
Taezoo Park’s digital sculptures Singularity from his Digital Being series allows the viewer to communicate with a presence/being that is embodied inside discarded technological debris. It reacts to our advances. It responds to our touch. It senses our presence and reacts to our every move. What is it trying to tells us? What are we communicating to each other?  In Jeremiah Teipen’s Touchface, virtual forms protrude into physical space and physical forms are digitized to explore the overlap between the virtual and physical where everything is at once familiar yet alien. Teipen creates surreal trance-inducing environments that is digitally vacuous yet richly sensuous.  Yaloo creates her projection mapping sculptures using both physically sculpted and animated elements in virtual reality that is then projected as video onto a physical form. The resulting work is a surreal projection filled with transcultural icons that exudes color and sensuality, in another words it is lush visual state of gluttony.
 
Artists Bios
Yaloo is a Korean artist based in Seoul and Chicago. She received her Master of Fine Art at the School of the Art Institute of Chicago (SAIC) in 2015 with a focus on digital image making and video installation. She was the first recipient of Lyn Blumenthal Memorial Fellowship, given by SAIC’s Video Data Bank. She won a gold award by AHL foundation, New York. Yaloo’s works have been part of number of solo and group shows and screenings in Chicago, New York, Seattle, Vancouver, British Columbia, Malmo, Sweden, and Seoul, South Korea.  Her has received full residency fellowships at Headlands Arts Center, Bemis Studio Art Center, La Bande Video, Vermont Studio Center among other. She is also the recipient of AHL Foundation’s Contemporary Visual Art Award.
 
Taezoo Park hold an MFA from the Pratt Institute in Digital Arts and a BFA from Hong-Ik University in Animation. Park has been making artwork out of abandoned technology combined with digital code to bring to life an imagined unknown creature from inside machines. He calls this new life “Digital Being”. He has been working on finding and depicting these creature as a digitalogist, new media artist, and maker in New York City for the past 10 years.  Park’s work has been featured at ABC news, BBC news, ACM Interactions, Open Journal System: Continent, Gizmodo, SciArt, World Maker Faire, CHI(Computer-Human Interaction), SPRING/BREAK Art Show, BRIC Arts Media, Moniker Art Fair, Contemporary Art Fair NYC, New Museum Ideas City, Governors Island Art Fair, DUMBO Arts Festival, Portal Art Fair at Federal Hall National Memorial, Harvestworks, Ca’ d’Oro Gallery, Clemente Center, ACE Hotel, Cornell University, Pratt DDA Gallery, Pratt Manhattan Gallery, Lower East Side Ecology Center, Northside Festival, World Trade Gallery, Made in NY Media Center by IFP, Barnes & Noble, AFA Gallery and World Trade Center.
 
Born in Bloomington, Indiana, Jeremiah Teipen currently lives and works in Brooklyn as an independent curator, artist and educator.  Teipen received an MFA from the School of Visual Arts and a BFA from Columbus College of Art & Design, has been the recipient of several awards including grants from the Asian Cultural Council, SIGGRAPH, Seoul Foundation of Arts & Culture and Arts Council Korea. He has exhibited his work in the United States, Europe and Asia including shows at the Circulo De Bellas Artes, Madrid; Centro de Arte de Burgos; Tokyo National University of Fine Arts and Music; Gallery Factory, Seoul; Gwangju City Art Museum; Number 35 Gallery, New York; SUNY Purchase College, New York; Monmouth University, New Jersey and the Queens Museum, New York.
 
Curator Bio
Eun Young Choi holds an MFA from the School of Visual Arts and a BFA from the School of the Art Institute of Chicago. Choi’s work has been exhibited in numerous international venues including the Centro de Arte Contemporáneo de Caja de Burgos, Spain; Aguélimuséet, Sala, Sweden; Kunsthaus Dresden, Germany; Foundry, London, UK; Landmark Project, Tokyo, Japan; and has participated in the London Biennale and the Pocheon Asia Biennale. Some of her US venues include Reed Whipple Cultural Center in Las Vegas; Gardinia Gallery, Los Angeles; Chelsea Art Museum, Dean Project, Gallery Sixtyseven, Amelie A. Wallace Gallery, Taipei Cultural Center, PS 122 Gallery, and SPRING/BREAK Art Show in New York. Choi has organized exhibitions and performance events in collaboration with various organizations including the New Museum’s IDEAS CITY Festival, National Academy Museum, United Nations Headquarters, Asian American Art Centre, NARS Foundation, AHL Foundation, Cindy Rucker Gallery and Arario Gallery New York. Her programming and exhibitions have been featured in the New York TimesNew York magazine, VOGUEmagazine, The Brooklyn Rail, Artcritical and numerous other media outlets. Choi is the Co-Founder of IA Curatorial Collective and a steering committee member of the Cultural Equity Group.

Try to Hold Your Gaze Steady

 

February 22 -May 5th, 2019
Opening reception: February 22nd 6-9 pm

With participating artists: Thomas Dexter, Harm van den Dorpel,
Zsuzsanna Szegedi-Varga, Lan Xu

Curator: Viola Lukács
 
Try to Hold Your Gaze Steady is a group exhibition where the digital image undergoes irregular fluctuations in physical motion. Such an encounter negates the disembodied nature of digital technology and  initiates an important rupture within the established fields of visual perception and representation.
 
The logic of the digital photograph is one of historical continuity and discontinuity. The digital image tears apart the net of semiotic codes, modes of display, and patterns of spectatorship in modern visual culture–and, at the same time, weaves this net even stronger. The digital image annihilates photography while solidifying, glorifying and immortalizing the photographic – claims Lev Manovich in his early writingPhotography after Photography.
 
The exhibition examines this conflict in recent and remastered works by Thomas Dexter, Harm van den Dorpel, Zsuzsanna Szegedi and Lan Xu. The artists in this investigatory show treat the digital image as material, and its qualities and properties as one, extant question that may be concerned with perception, representation and the conservation of the digital image. Each artist has a radically different mode of interaction with the medium.
 
Artist and performer Thomas Dexter’s work has been featured at the Guggenheim and PS1/MOMA. This time he creates a series of videos with a miniature “POV” action-sports camera attached to the end of a consumer cordless power drill. The gradual acceleration of the camera movement turns landscapes into contemplative mandalas that unveil the often invisible transmission between figuration and abstraction. As viewers struggle and fail to maintain spatial hierarchies, the process reveals the limitations of human perception.
 
Berlin based artist Harm van den Dorpel is known for his “left gallery” project that uses blockchain to open new possibilities for the production and distribution of digital art. The present video work Three Sleepwalkers applies his typical blend of manipulated and reconfigured visual elements taken from a number of sources to critically explore quotidien life and meme culture.
 
Zsuzsanna Szegedi-Varga imagines new subjectivities and post-human bodies in a series of photographic works where the Iphone’s camera becomes an expanded brush. Through gesturally outpacing the camera’s panoramic “image-stitching” algorithm, these works playfully collapse distinctions between subject and milieu, drawing attention to the fluidity of identities.
 
Artist and DJ Lan Xu translates semiotic codes and grids taken from digital culture into a performative installation. Handcrafted objects, textural neon tubes link with New Age “deep image” poetry boosted with dance. This is the celebration of the possibilities to immerse in a collective experience beyond physical space and time.

Artists Websites: 

http://thomasdexter.com

https://harmvandendorpel.com

https://www.zsuzsanna.com

https://xulan.co

Please check out our promo video here

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ARTWORK 

EXHIBITION OPENING 

Closing Event Performance Video by Thomas Dexter here.