Category: Past

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

PRESS RELEASE     ARTISTS INFO   CHECKLIST   BROADSHEET

ARTWORK 

EXHIBITION OPENING 

Closing Event Performance Video by Thomas Dexter here.

Category 6 Reading and Closing Reception

December  14th  2018  3.00 – 6:00 pm 

Dear Friends,

Please join us for a reading and closing reception for Category 6. Featuring poets Andrea Abi-karam
Todd ColbyCat Tyc, and Sarah Wang.

Reading begins at 3:30. Reception follows. 
Drinks will be served.

About the exhibition

Deric Carner, Molly Dilworth, and Scott Kiernan
Curated by the artists

September 28–December 7, 2018
Opening Reception, Friday September 14th, 6-9 PM

Scientists have recently called for a new category of storm to be added to the Saffir-Simpson Scale. They argue that recent megastorms far exceed the power and rate of intensification of category 5 hurricanes. 215 mph winds are a strong sign that something categorically different is in the air. How do we interpret aberrant signs so clearly outside the scale of our experience? The enlightenment dream of human control over nature is rapidly turning into a nightmare of ecological blowback and systems out of control. Throw in democracies manipulated by stolen data and captured by demagogues, and you have a recipe for demoralization and the eclipse of the human era.

It is getting harder to know what’s going on and what’s real. How are we to respond to the shifting landscape of material and symbolic uncertainty? We can be alone at home, anxiously tunneling for a safe space, policing the chat rooms, designing counter-bots, or we can be out in the world seeking new connections and meanings. We can, like the artists in this show, acknowledge things outside the scale of what was known previously. These three artists use bricolage and known inputs to create entirely new configurations that feel familiar but frustrate categorization. Their work is grounded in studio materiality and a commitment to process and play. Their images and forms are mutant assemblages suggestive of alien bodies and lifestyles.

Scott Kiernan’s multi-channel videos play across stacked and side-by-side CRT monitors. The video loops breathe and mutate like organs or electro-organic storms. Resolutely abstract, the videos are made through real-time analog signal processes developed by Kiernan in his collaborative mobile television studio E.S.P. TV. Molly Dilworth is known for her high profile public art commissions throughout the country. But at home and in her studio, she pulps recycled paper, knits and collects objects found on the street. These elements join with cast bowls and IKEA stools to create strange and joyous sculptures. They feel both domestic and cosmic. One can imagine a race of photosynthesizing cat people enjoying these arrangements in their soft-walled grottos on a milder planet than ours. Deric Carner uses hard construction plaster and found metal to create supple body-like objects. He starts with a simple premise such as “shield” or “spare fingers,” and ends up with uncanny objects that are uncovered by maxing out the possibilities. Carner lives with and rearranges elements over months and years until he feels a thing has revealed its true form. There is a sense that each of these artists is reacting to a deranged world by creating work that sidesteps predictable linear logic. By following intuitive and responsive pathways they reveal traces of bodies and psyches under pressure.
 

About the Artists
 

Deric Carner has had solo shows at Romer Young Gallery, Trestle Projects, Four AM, Louis V E.S.P., and Tent. Rotterdam. Group shows include Present Company, NurtureArt, Louis B James, Participant Inc., EFA Project Space, Queen’s Nails Projects, Southern Exposure, Witte de With and CAC Vilnius. His piece “Touch Belly” was highlighted in Hyperallergic’s Best of 2017: Our Top 15 Brooklyn Art Shows. Carner holds a Masters from the Piet Zwart Institute, Rotterdam, NL, an MA from the University of Plymouth UK and a BFA from the University of California at Santa Cruz, CA. He is a MacDowell Fellow and an Artists Space IPG and SFAC Grant recipient.

From the rooftops of Brooklyn to the Pedestrian plazas of Times Square, Molly Dilworth has created outdoor site-specific paintings in New York City and exhibited across the United States. She has been an artist in residence at the Salina Art Center in Kansas, the Art & Law Program with the Volunteer Lawyers for the Arts, Recess Activities/Pioneer Works, Tulsa Artist Fellowship, Vermont Studio Center, Smack-Mellon and the LMCC Workspace Program. Her work was part of Spontaneous Interventions: design actions for the common good in the U.S. Pavilion at the 13th International Venice Architecture Biennale. Permanent public commissions include an exterior painting for the Garden at The James Hotel in Lower Manhattan, a painting covering the Parks Department building in Toledo, a temporary garden for a city block in Seattle, a permanent sculpture for a light rail station in Denver and permanent sculptures for a new university building in Portland.

Scott Kiernan founded and co-directed Louis V E.S.P., an artist-run gallery and performance space in New York City (2010-2012), and E.S.P. TV (2011-present), a nomadic TV studio that explores televisual language and develops artist collaborations for broadcast. He has exhibited and performed internationally in venues such as New Museum, Museum of Arts and Design, Swiss Institute/Contemporary Art, Storefront for Art and Architecture, Whitney Museum of American Art, P.S.122, Queens Museum, Pioneer Works, Anthology Film Archives, Harvard Art Museums, Ballroom Marfa, Yerba Buena Center for the Arts, and the Center for International Contemporary Art in Rome; and teaches in Hunter College’s Integrated Media Arts MFA program.

Hypervirtuality

December 14, 2018 – February 1, 2019
Opening Reception: December 14, 6-9PM

Artists: Yaloo, Taezoo Park, Jeremiah Teipen

Curated by Eun Young Choi

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 holds 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 Times, New 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.

ARTWORK:

CHECKLIST

PRESS RELEASE

Category 6

 

Deric Carner, Molly Dilworth, and Scott Kiernan

Curated by the artists.

September 28–December 7, 2018
Opening Reception, Friday September 28, 6-9 PM

Scientists have recently called for a new category of storm to be added to the Saffir-Simpson Scale. They argue that recent megastorms far exceed the power and rate of intensification of category 5 hurricanes. 215 mph winds are a strong sign that something categorically different is in the air. How do we interpret aberrant signs so clearly outside the scale of our experience? The enlightenment dream of human control over nature is rapidly turning into a nightmare of ecological blowback and systems out of control. Throw in democracies manipulated by stolen data and captured by demagogues, and you have a recipe for demoralization and the eclipse of the human era.

It is getting harder to know what’s going on and what’s real. How are we to respond to the shifting landscape of material and symbolic uncertainty? We can be alone at home, anxiously tunneling for a safe space, policing the chat rooms, designing counter-bots, or we can be out in the world seeking new connections and meanings. We can, like the artists in this show, acknowledge things outside the scale of what was known previously. These three artists use bricolage and known inputs to create entirely new configurations that feel familiar but frustrate categorization. Their work is grounded in studio materiality and a commitment to process and play. Their images and forms are mutant assemblages suggestive of alien bodies and lifestyles.

Scott Kiernan’s multi-channel videos play across stacked and side-by-side CRT monitors. The video loops breathe and mutate like organs or electro-organic storms. Resolutely abstract, the videos are made through real-time analog signal processes developed by Kiernan in his collaborative mobile television studio E.S.P. TV. Molly Dilworth is known for her high profile public art commissions throughout the country. But at home and in her studio, she pulps recycled paper, knits and collects objects found on the street. These elements join with cast bowls and IKEA stools to create strange and joyous sculptures. They feel both domestic and cosmic. One can imagine a race of photosynthesizing cat people enjoying these arrangements in their soft-walled grottos on a milder planet than ours. Deric Carner uses hard construction plaster and found metal to create supple body-like objects. He starts with a simple premise such as “shield” or “spare fingers,” and ends up with uncanny objects that are uncovered by maxing out the possibilities. Carner lives with and rearranges elements over months and years until he feels a thing has revealed its true form. There is a sense that each of these artists is reacting to a deranged world by creating work that sidesteps predictable linear logic. By following intuitive and responsive pathways they reveal traces of bodies and psyches under pressure.
 

About the Artists
 

Deric Carner has had solo shows at Romer Young Gallery, Trestle Projects, Four AM, Louis V E.S.P., and Tent. Rotterdam. Group shows include Present Company, NurtureArt, Louis B James, Participant Inc., EFA Project Space, Queen’s Nails Projects, Southern Exposure, Witte de With and CAC Vilnius. His piece “Touch Belly” was highlighted in Hyperallergic’s Best of 2017: Our Top 15 Brooklyn Art Shows. Carner holds a Masters from the Piet Zwart Institute, Rotterdam, NL, an MA from the University of Plymouth UK and a BFA from the University of California at Santa Cruz, CA. He is a MacDowell Fellow and an Artists Space IPG and SFAC Grant recipient.

From the rooftops of Brooklyn to the Pedestrian plazas of Times Square, Molly Dilworth has created outdoor site-specific paintings in New York City and exhibited across the United States. She has been an artist in residence at the Salina Art Center in Kansas, the Art & Law Program with the Volunteer Lawyers for the Arts, Recess Activities/Pioneer Works, Tulsa Artist Fellowship, Vermont Studio Center, Smack-Mellon and the LMCC Workspace Program. Her work was part of Spontaneous Interventions: design actions for the common good in the U.S. Pavilion at the 13th International Venice Architecture Biennale. Permanent public commissions include an exterior painting for the Garden at The James Hotel in Lower Manhattan, a painting covering the Parks Department building in Toledo, a temporary garden for a city block in Seattle, a permanent sculpture for a light rail station in Denver and permanent sculptures for a new university building in Portland.

Scott Kiernan founded and co-directed Louis V E.S.P., an artist-run gallery and performance space in New York City (2010-2012), and E.S.P. TV (2011-present), a nomadic TV studio that explores televisual language and develops artist collaborations for broadcast. He has exhibited and performed internationally in venues such as New Museum, Museum of Arts and Design, Swiss Institute/Contemporary Art, Storefront for Art and Architecture, Whitney Museum of American Art, P.S.122, Queens Museum, Pioneer Works, Anthology Film Archives, Harvard Art Museums, Ballroom Marfa, Yerba Buena Center for the Arts, and the Center for International Contemporary Art in Rome; and teaches in Hunter College’s Integrated Media Arts MFA program.

 

ARTWORK:

OPENING RECEPTION:

CKECKLIST

PRESS RELEASE 

Dense Bodies Bend Solid Ground

 

April 27th – June 29th, 2018

Opening Reception April 27th, 6-9pm 

 

Lara Atallah, Leah Beeferman, Alta Buden, Carolyn Lambert

Curated by Rachel Steinberg

This exhibition brings together works from four artists that consider bodies – human, earthly, and political – through evidence of their edges. Conceptually, we are taught to understand a body as individual and whole as far as it is contained within its designated boundaries or skin. That there even exists a line dividing one’s feet from the dirt, one nation state from the next, or the sand from the sea, is a fiction, perpetuated by an oblique understanding of the material world.

The works employ photography, video, sculpture, performance, and text in order for different bodies to push or sink into one another. In each work, the dense, autonomous human body leaves a record of its emergence – a fusing together of material relationships over the breadth of time. Although each artist’s body itself is absent, its imprints and perspectives are what forms each work. The flexibility and porosity of these boundaries are experienced through the document of an impression, and made conspicuous by the futility of their capture.

Lara Atallah’s series 34.5531° N, 18.0480° E consists of Polaroids made along the Southern European and Western Asian coastlines, along with sun prints made from pebbles and small rocks, culled from the different beaches that were photographed. Bordered by over 20 countries, the Mediterranean is commonly perceived as a place for recreation and leisure, but the sea has become the only viable route to safer shores for the many refugees fleeing war zones. The Polaroids are all deliberately damaged within the first 30 seconds of their development, crushed between the artist’s hands or under her feet. The images themselves are devoid of any human depiction. Instead they infer a subtle violence in the emulsion’s veins and fissures. The sun prints are weighted for a period of time by pieces of the same landscape, but only the earth’s specter remains within the prints. Both the Polaroids and the sun prints attempt to capture the earthly materiality of a contentious political boundary, as well as the impressions from where they came into contact with light and the human body.

Leah Beeferman’s recent work considers boundaries and edges as human concepts. Her video, Coast Forms, uses the idea of a coastline to examine, and reimagine, our formal delineations of space. Borrowing notions from quantum physics, she posits a coast as forever shifting in time, space, and materiality. The fifteen-minute video pulls the viewer into different conceptions and arrangements of spacetime through a careful combination of reality and abstraction. She uses footage of waves hitting the shore overlaid with gestural digital forms to create fluidity between digital space, video documentation, and our own focused — yet blurry — acts of perception. In her accompanying newsprint piece, also titled Coast Forms, she uses speculative text, alongside terms from physics and geology, to reflect on overlaps between scientific and personal observation. Similar to the conceptual demarcation between sea and shore, we tend to see a boundary between these different types of looking — but perhaps, Beeferman suggests, we should not. In both works, she highlights the unfixed nature of something human logic has classified as a ‘line’, while pointing out the impossibility for us, at a human scale, to ever really capture such fixity.

Alta Buden is a Brooklyn-based visual artist concerned with the human relationship with our environment. Consisting of a series of sculptures made of rocks, concrete, light, and hand blown glass vessels, Intertidal traces the path of pollutants from the heart of Newtown Creek, a Brooklyn Superfund site contaminated in the 1800’s, from the Hudson River to the Atlantic Ocean where its pollutants become part of a global water entity. Integral to her process is the time spent at these shoreline sites, indexing objects that contain an untranslatable piece of their origin. Each glass vessel is supported by objects–rocks collected at the various sites and cement casts of the shore. Before the hand blown glass has solidified, she presses select pieces onto their support object, forging a relationship through the shared edge of glass and rock or cement – as if attempting to speed up the evolutionary fusion of these materials. Together they form a portrait of the legacy of pollution of a city, told through its shorelines. Lit to show their abstract reflections, and displayed in a style referencing a natural history museum, these objects illuminate the disconnect between knowledge and beauty through the interconnectedness of disparate things.

In Performance for a Permeable Body (toxicity, build-up, frottage, residue), Carolyn Lambert uses mark making as a performative gesture to think about the impact that humankind is having on the surface of our planet. Mixing a digestible form of carbon with her own saliva, she applies this residue to her arm and shoulder, then rubs it repeatedly on the wall. This action designates the surface of the wall as both stand-in for the skin and recipient of its residue, making visceral the porosity of the body. The remains of this gesture is a smudge. The mark is accompanied by a broadsheet connecting the action to a larger context of landscape and time.

PRESS RELEASE 

CHECKLIST

BOOKLET

Check out a live feed video from the event here.

Artwork Images 

Opening Images