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RFAOH co-directors, Shinobu Akimoto and Matthew Evans are pleased to invite international “artists on-hiatus” to apply to our 2nd call for participation in our ongoing project, Residency for Artists on Hiatus (RFAOH).
Residency For Artists On Hiatus is a virtual yet functioning residency available to artists who, for one reason or another, are NOT currently making or presenting art. The residency exists in the form of a website, and the participants are selected based on their proposals of “on-hiatus” activities (or non-activities). To be eligible to apply, artists must have previously created an independent body of work and have exhibited in a public context. Selected artists will be represented on the RFAOH website by a dedicated page on which they are asked to post periodic reports throughout their residency. A modest stipend will be awarded to successful applicants to assist in their on-hiatus endeavours. At the conclusion of their residency, residents are expected to submit a written report on how they benefited from or were otherwise influenced by this opportunity.
For a DIY project with such modest beginnings, our first year brought us amazing collaborations and responses that developed beyond our expectations. The scope of our inaugural participants’ on-hiatus activities ranged from meditation to being a full time professor of architecture, from organic gardening to applying to an MBA programme or explorations into various leisure activities for leisure sake. While stepping back from their art practices yet maintaining some life-line to their artist identity, all our residents uniquely perceived, approached, and used this opportunity. Their inspiring posts and final reports may be read on the RFAOH website. We also sincerely thank Mr. Tehching Hsieh for accepting our invitation to sit on our advisory board, as well as those who brought us opportunities to present RFAOH worldwide.
Given the currently topical discussions around the institutionalization of art practice and artist's identity, we are excited to host the 2nd cohort of residents, and continue our discourse surrounding the role of art within the greater culture at large. To know more about Residency For Artists On Hiatus and its first year of operation, please visit our website. http://residencyforartistsonhiatus.org. Detailed information on how to apply can also be found at http://residencyforartistsonhiatus.org/application.php.
The deadline for applications is September 15, 2014.
Residency For Artists On Hiatus continues to seek a host organization who may promote the residency through their own website and assist in funding the programme. The amount of the stipend paid to the residents as well as the format of the final publication will be contingent on this funding. Should you be interested in supporting RFAOH, please contact us at email@example.com, or go to our support page to see how you can help.
Object-human relationships can be perceived in many different ways. The object can become humanized and fetishized and the human on the other hand, can be objectified. In this show Aimée Burg, Tamar Ettun, and Mónika Sziládi bring their own take on the interdependences between bodies, minds, and the objects surrounding them. The combination of the works in the show explores the charged relationships we have with the objects we use every day; whether in terms of religious, ceremonial, mundane, or psychological interdependencies. The impact of these relationships on our lives ranges from the very physical, through mental and emotional experiences, to metaphysical and spiritual attributes.
Aimée Burg’s comprehensive installation revolves around the notion of rituals, play, and the suspension of time, while incorporating repetitive and meditative tasks using metaphoric objects from everyday life. Her re-interpretation of mundane items utilized in our home, kitchen, and with our family and friends, resemble archeological artifacts that preserve ancient ceremonial events. The installation’s dynamic presence plays with the relevance of “time” by bringing the past into a sci-fi-like future.
In her recent series of works, Tamar Ettun explores the concept of empathy through “neuron mirroring.” Originally defined as “mirror neuron” it refers to a neuron that fires both when an animal acts and when the animal observes the same action performed by another. Her works in the show comprised of sculptures, a video, and photographs, are a reflection of a longer process which traces the correspondence between objects and bodies, as well as sculptures and movement. As she often states, in her works the body becomes sculptural, and the objects, performative.
Through a photographic process Mónika Sziládi creates unique digital collages that are constructed from scenes she shoots at networking events, conventions, and meet-ups of various subcultures that engage through social networks. In her most recent assemblage of works “Left to Our Own Devices,” Sziládi emphasizes moments of the complex psychological exchange we develop with garments, technological devices, costumes and toys, or other people we surround ourselves with.
Curated by Roya Sachs
August 27 – 30, 2014
Opening Reception: Wednesday, August 27, 6-9 pm
BOSI Contemporary is pleased to announce the opening of Unconscious Lens, a group exhibition curated by Roya Sachs, featuring works by New York based artists Najib Aschrafzai, Rosanna Bach, Mike Fernandez, Gabriele Giugni, Alison Nguyen, and Anh Thuy Nguyen.
The show revolves around Freud’s theory of the Unconscious – the source of our most instinctual desires that are repressed and released in our dreams. Each artist attempts to explore the different realms of the Unconscious and Conscious world, by demonstrating the different visions, techniques, and concepts of their optical lens.
Najib Aschrafzai’s (b. 1968, Caboul, Afghanistan) Dada-influenced project takes a rather organic approach to the Unconscious, by representing the unpredictability of our emotions through collage. One is brought to question the confusing lines between our dreams and reality.
Rosanna Bach’s (b. 1990, Geneva, Switzerland) use of analogue experimentation in her large-scale double-exposure series brings to light poetically melancholic juxtapositions of nature and the human body.
Mike Fernandez’s (b. 1985, Lima, Peru) video and photographic works create a subtle and intrinsic duality between human and animal behaviour, encouraging the viewer to re-evaluate their identity.
Gabriele Giugni (b. 1980, Rome, Italy) evokes his perception of the Unconscious through the use of light boxes and silhouettes, allowing you to enter the mind of individuals through the positions and movements of their body. By focusing on individuals within the crowd, it enables him to isolate their trajectory and create an intrinsic link between the observer and the subject.
Alison Nguyen’s (b. 1986, Wilmington, Delaware) in-camera multiple exposures create vastly evocative, lively, and gestural textures in her photographs. Treating the film negative as an entire image, Nguyen's improvised, intuitive approach explores the complexities of what theorist Walter Benjamin termed the "optical unconscious."
Anh Thuy Nguyen’s (b. 1993, Hanoi, Vietnam) Faceless series enters a painterly-esque dream world, by using multiple exposures and capturing blurred faces. Through these the viewer is left with a ghostly separation of a dream-like state, and a reality. Her photographic and chemical experimentations reveal only certain spontaneous aspects of her identity, and appropriately repressing the rest.
The opening night, 27th August, will include a unique performance at 7.45pm, of La Mamma Morta, an aria from Umberto Giordano’s Andrea Chenier, performed by opera singer Mithra Mastropierro and dancer Katherina Tsirakis. Contextually, the opera first premiered in 1896, one year after Freud’s first big publication, Studies on Hysteria. Katherina is the subject in Rosanna Bach’s photographs, bringing her works to life through the performance. Its purpose will be to stress the dual existence of the Unconscious dream world, which Mithra sings about in the aria, and the reality of the Conscious world, which Katherina's movement and physical presence will represent.
The University Museum and Art Gallery is excited to announce its exhibition of “Picasso Ceramics” from the Nina Miller Collection, which provides a unique opportunity to study the sculptural qualities and three-dimensional aspect of Pablo Picasso's work, never before seen in Hong Kong. From World War II to the end of Picasso's life in 1973, the Spanish artist created thousands of carefully sculpted and, often, colourfully glazed, objects that give testimony to his artistic diversity, ingenuity and enormous creative powers.
The exhibition includes more than 100 ceramic works, both Picasso's Madoura editions and unique individual pieces, as well as lithographs and posters designed by the artist, and images by renowned photographers depicting Picasso in his studio and home. Coming from one of the largest collection of the artist's ceramic ware in the world, this is the first time that the London-based Nina Miller Collection is ever seen publicly.
BOSI Contemporary is pleased to announce The Loss of So Many, a solo exhibition by David Mellen. The exhibition will feature works that question the idea of dimensionality and how a canvas can become a vehicle for more than just two-dimensional representation.
Combining the sculptural and the painterly in Red Lies Body, Meter, Still Stand, and Into the Throats of Birds, Mellen creates a trapeze act between the flat and the three dimensional, between the placeable and the unidentifiable. The physical malleability of the sculptural parallels the impressionable subject matter.
Drawing inspiration from Samuel Beckett’s quote from the Endgame: “There’s something dripping in my head…A heart, a heart is in my head,” Mellen’s work allows us to access our own individual personality. Mellen’s paintings create complex algorithms of illusory and invisible correlations between visual interpretations and inner monologues. Endgame, a term referencing the final stage of a chess game when there are only a few pieces left on the board, corresponds to the intellectually prevalent game between the exhibition and the audience, between painting and viewer. The paintings’ titles characterize known physical and emotional attributes that are then contested by their visual gestures.
The Loss of So Many, like a chess game, demonstrates the complexity and never ending way to explore different endgames within our own humanity. Like chess pieces, these paintings serve as signifiers which allow the viewer to explore what drives us, breaks us, consoles us, what it means to be human on the way to the pursuit of happiness. These images, both abstract and familiar, are devised by the artist to make us rife with connotations of the physical and immaterial space of our everyday life, and the things we lose in between.
David Mellen (b. 1970, Chicago, USA) attended the American Academy of Art. He exhibited his work in his hometown of Chicago until 1994, when he moved to Europe. He has exhibited both internationally and nationally, including a solo exhibition at Frey Norris Gallery in San Francisco and group exhibitions in New York and Chicago. Mellen has also been featured in international exhibitions in Paris, Brussels, and London, in institutions such as Kursaal Exhbition Center, Belgium; Centre de Cheques Postaux XV, Paris and APT Gallery, London. Mellen lives and works in Connecticut.
Both Sides Now – Somewhere between Hong Kong and the UK presents contemporary and historical film and video work from Hong Kong and China, curated by Isaac Leung of Videotage and Jamie Wyld of Videoclub. The films explore developments within the culture and society of Hong Kong and China over the past three decades, including work which reflects on the on-going dynamics of cultures in Hong Kong, China, and the UK. The programme contains work by some of Hong Kong and China’s most exciting artists working in film and video, and varies between animation, documentary and artist’ moving image.
Screening Date in UK
24 June 2014 : FACT, Liverpool
26 June 2014 : Duke’s at Komedia, Brighton
05 July 2014 : Whitechapel Gallery, London
13 July 2014 : Floating Cinema, King’s Cross, London
Screening Date in HK
Exhibition : 15 – 20 August 2014
Location: Osage Kwun Tong, 4/F, Union Hing Yip Factory Building, 20 Hing Yip Street, Kwun Tong, Hong Kong
Curatorial Talk: 16 Aug (SAT) 3-6pm
Location: British Council, 3 Supreme Court Road, Admiralty, Hong Kong
HONG KONG ARTISTS
“LOWEREST TO LOWER”
CHAN Chui Hing, Nose
CHENG Chi Lai, Howard
“Star” & “Move”
CHOI Sai Ho
“Complaint Song of Hong Kong – Youtube Karaoke”
Complaint Choir of Hong Kong & CHOI Thickest
“97 TONS OF MEMORIES”
“Cycling to the Square“
CHUNG Wai Ian & LEE Chung Fung
“X-mas Half-Nude Party “
Forever Tarkovsky Club & Gregor SAMSA
” I Love the Country But Not the Party (Party version) “
“A Woman in A Flat”
HO Sik Ying
“A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack “
KWAN Sheung Chi
“Door Games Window Frames – video version (2012)”
LEUNG Chi Wo
“Meditating at the Central Point of the Kingdom”
LO Yin Shan
“EAST IS RED“
MAK Chi Hang
“TV Game of the Year”
“Playing Cards 1997”
TSE Ming Chong
“Under the Lion Crotch”
“Sounds from Beneath”
Mikhail Karikis and Uriel Orlow
“The Delinquents Part 1 (Jobseekers) “
“New Materials in the Reading of the World”
Chooc Ly Tan
“Just About Managing “
JUNE 21, 4pm- 1 am
Not since SINCE ALAN KAPROW AND THE FACTORY has anyone experienced an art happening like Michaels Alan's THE LIVING INSTALLATION
Experience this mind-blowing event where Michael will turn 10 live models, all acting out "Alice in Wonderland", into living sculptures.
He plays with linearity, expands your mind with visual puzzles makes drawings inside drawings inside paintings. He decorates the models with paint, fabric, paper and objects to create a world that is nothing less than fantastical.
Alan and musician Tim “Love” Lee provide the soundtrack.
Michael Alan's LIVING INSTALLATION has been staple in NYC for over 20 Years and The Huffington Post Calls it "A MOVEMENT IN NYC ART CULTURE!" This community project has created live art objects in venues like the Whitney and the New Museum.
The event will take place in a 3000 square foot space at Succulent Studios, with drinks, coffee and food and will be the closing of the Installation Group show.
Mike has been featured in the Village Voice, The Huffington Post, The New York Times and many more.
This event being his 11 year anniversary and the first time he has performed in 2 years, should prove to be the most extravagant yet.
Go to: WWW.MICHAELALANART.COM under INSTALL for tickets
SUCCULENT STUDIOS 67 West St. | Greenpoint Brooklyn | 5th floor | Suite 522
The University Museum and Art Gallery of The Hong Kong University will be showing an exhibition of artworks by 27 Austrian artists in China titled “Refuse the Shadows of the Past: Five Years of Austrian Art made in China” from the July 4 to August 24, 2014.
This commemorative exhibition celebrates the fifth anniversary of artistic creation and transformation by Austrian and other international artists working in China with a concentrated focus on the ‘Chinese’ past and present. Five years also mark a longer existing program of internationalisation, initiated by the Austrian government to allow artist to work around the world.
This summer, the University Museum exhibits a selection of works that have been shown in Beijing, Shenzhen, Chongqing and Ningbo in the last 5 years, and include video works by Hannes Böck, Thomas Weber Carlsen & Jan Krogsgaard, Sylvia Eckermann & Gerald Nestler, Johann Neumeister, Moritz Neumüller, Audrey Salmon, Bernhard Staudinger, Sylvia Winkler & Stephan Köperl and Heimo Wallner. Objects, installations and book works by Allan Au, Franz Amann, Anna Hofbauer, Ralo Mayer, Rainer Prohaska and Gerlind Zeilner as well as collages, drawings and photographic works by Lukas Birk, Karel Dudesek, Georg Frauenschuh, Tina Hochkogler, Heimo Lattner, Thomas Pakull, Anton Petz, Ida & Bianca Regl, Roswitha Weingrill and Andrea Witzmann.
Each exhibited artist developed his or her own method of artistic practice in a new environment, by working and living in China and not just visiting her. Thereby, they did not form part of a programmatic cultural exchange, but participated in a residency programme that allowed them to develop an approach driven by personal curiosity and subtle translations. The closest comparisons are the pictograms of the Naxi tribe, which have been communicating with images rather than with letters. Similarly, these artists communicate with, various materials, sounds, and forms to reach the visitors’ imagination.
Among the twenty-seven artists represented, Heimo Wallner features Mao Tse Tung’s selected works volume 2 with personal illustrations composed into an animation video, in order to draw and write a large map which shows historical and today’s connection of China. Roswitha Weingrill presents collages with mosaic intarsia showing female and male heads carved out of Chinese art school books.
This exhibition has been organised in collaboration with the Austrian Consulate General in Hong Kong and Macau and the Embassy of the Arts of Austria.
Date: July 3 2014 (Thursday)
Time: 18:00 – 19:30
Place: 1/F, Fung Ping Shan Building, University Museum and Art Gallery, HKU
Details of the exhibition “Refuse the Shadows of the Past: 5 Years Austria Art Made in China”
Period: July 4, 2014 (Friday) – August 24, 2014 (Sunday)
Opening Hours: 09:30 to 18:00 (Monday – Saturday); 13:00 – 18:00 (Sunday). Closed on University and Public Holidays (For details, please visit http://www.hkumag.hku.hk/about_us.html)
Venue: 1/F, Fung Ping Shan Building, University Museum and Art Gallery, The University of Hong Kong (For location, please visit: http://www.hkumag.hku.hk/location.html)
Tel/Email: (852) 2241 5500 (General Enquiry) / firstname.lastname@example.org
Fees: Free Admission
Quality of Life: Aliza Nisenbaum, Claudia Cortinez + Carlos Vela-Prado, Daniel Bejar, Ethan Breckenridge, and Reka Reisinger
Curated by Allison Galgiani
In collaboration with the Rema Hort Mann Foundation
June 19 – July 19, 2014
Opening Reception: Thursday, June 19, 6-9 pm
Bosi Contemporary, in collaboration with the Rema Hort Mann Foundation, is proud to present Quality of Life, a group exhibition featuring Daniel Bejar, Ethan Breckenridge, Claudia Cortinez + Carlos Vela-Prado, Aliza Nisenbaum, and Reka Reisinger, all past recipients of the Rema Hort Mann Foundation Emerging Artist Grant. The meaning, significance, and success of an individual life defies a single definition, and each artist contends with these themes in their own way, demonstrating the complexity and never ending way we seek to quantify a life well lived.
The artists in this exhibition, whether directly or obliquely, reflect, challenge, or illuminate the way in which we measure or choose to define the quality of life. Whether spurred by the unyielding American mandate—to live better, to prosper and succeed, or driven by a spiritual inclination towards a more enlightened state, the concept of “quality” is a rubric used to measure something intangible. Delving into issues of nationalistic propaganda, personal identity and false idolatry, the artists explore what it means to be human; the things that drive and console us, and the histories we contrive to prove that there is meaning despite the chaos. The exhibition captures the indefatigable spirit of life and the artists’ own concepts of humanity, through various signifiers and conventions both familiar and devised by the artist themselves.
Daniel Bejar’s work is informed by his identity and response to the proliferation of media and propagandist messages that consciously and subconsciously permeate our surroundings. In his “Rec-elections” series, Bejar focuses on the tendency of political candidates to rely on clichéd and vague terminology in order to secure support, taking advantage of the public’s knee-jerk reaction to nostalgic and idealistic views of the “American Dream.” What initially seems to be a cynical outlook, the pieces themselves do not drip of contention for these mottos, but rather resolutely reaffirm the fact that we still desperately want to believe them.
Daniel received the Rema Hort Mann Foundation Emerging Artist Grant in 2013 and holds an MFA in sculpture from SUNY New Paltz and a BFA from the Ringling College of Art & Design, Sarasota, FL. His work has been exhibited internationally and was recently selected for the 5x5 Castelló 13 International Contemporary Art Prize in Castelló, Spain and the upcoming “Crossing Brooklyn” exhibition at the Brooklyn Museum. Other exhibitions venues include El Museo Del Barrio, SITE Santa Fe, Artnews Projects, Berlin, and the Bronx Museum of the Arts. Daniel currently lives and works in Brooklyn
Ethan Breckenridge’s “prisms” are perfectly contained representations of life, captured under glass. Like miniature biospheres, Breckenridge has created the ideal environment for his plant specimens to live and grow. Each microcosm will develop and thrive, but is simultaneously universally reliant on someone to cultivate it. Rife with connotations of survival and those elements that we can or cannot control in our own life, the prisms speak to a desire to create order and semblance to an otherwise chaotic life mechanism.
Ethan was a Rema Hort Mann Foundation Emerging Artist Recipient in 2010, and received his MFA from Columbia University and his BFA from the School of Visual Arts, New York. He has shown both nationally and internationally, including solo exhibitions in San Diego, Chicago, and New York, and group exhibitions in London, Rome, Lisbon, Los Angeles, and New York. Ethan currently lives and works in New York City.
The collaborative photographs and sculptures by Claudia Cortinez and Carlo Vela-Prado are presented as archival documents of a moment in time isolated from the present and the past. New York’s Governor’s Island’s unique history and relationship with Manhattan creates a liminal space, where artifacts act as the only connection to an ambiguous past. While inspired by real objects, Cortinez and Vela-Prado’s sculptures are almost entirely fabricated, aged and photographed to act as a proxy for the real, and left up to the viewer to decide what is authentic and what is imagined.
Claudia was a Rema Hort Mann Foundation Emerging Artist Grant Recipient in 2013, and she works collaboratively and independently. Together they were recipients of the 2013 Lower Manhattan Cultural Council Governor’s Island Residency program. Separately, they have exhibited in and around New York. Both artists received their MFAs in sculpture from Yale University, and both are currently based in Brooklyn.
Aliza Nisenbaum’s paintings give equal weight to her own and her shared history, taking cues from art historical conventions of portraiture and still-life, while also very much rooted in the contemporaneous moment. Working with undocumented Mexican immigrants, Nisenbaum listens to their stories of their experiences and sacrifices they endured in the hopes for a better life. Each of her works possesses the living spirit of her subjects and this pursuit.
Aliza was a recipient of the Rema Hort Mann Foundation Emerging Artist Grant in 2013.
She was born in Mexico City and received her MFA from The School of the Art Institute of Chicago in 2005. Recently she has exhibited in New York City, Detroit, Chicago, Dublin, and Mexico City, and will have a solo exhibition at White Columns, New York later this year. She currently lives and works in Brooklyn.
During a number of trips across the United States, Reka Reisinger documented her visits to tourist-approved destinations by photographing a cutout of herself in real places. The life-size cutout inhabits the memories of these journeys—as she travelled, her avatar was the recipient of the experience. Focusing instead on the documentation and capturing the memory, she realized that she was entirely removed from her experience of a time and place. The viewer experiences these memories as she did—removed and distant from the actual experience, raising implications of how we choose to record and measure experience and success in our lives.
Reka Reisinger was the recipient of the Rema Hort Mann Foundation Emerging Artist Grant in 2012 and received her MFA in photography from Yale University. Her work has been shown nationally and internationally, including exhibitions at MoMA PS1, Sculpture Center, Exit Art, and the Art + Commerce Festival of Emerging Photographers. Reisinger was born in Budapest, Hungary, and lives between New York and Hungary.
About the Rema Hort Mann Foundation
For almost twenty years, the Rema Hort Mann Foundation has been dedicated to the support of life and art, inspired by the memory of Rema Hort Mann, whose own life was cut short at the age of thirty due to stomach cancer. The Foundation has made its mission to fund the continued support to cancer victims and their families through direct support with the Quality of Life grants, and promising visual artists through the Emerging Artist Grants. The Rema Hort Mann Foundation is a small organization that continues to have a large impact and play a vital role to the populations that it reaches.
A portion of the proceeds from the exhibition will go to benefit the Rema Hort Mann Foundation.
The exhibition will be accompanied by a fully illustrated catalogue with texts by Allison Galgiani and Laura Cottingham available for purchase at the gallery or online.
I will come up with an artistic idea along any one issue or theme you require. This idea will be yours to use and develop as you wish. I will aim to make the ideas original. By this I mean that I will not conciously copy somebody elses idea. I can't however be held responsible for leaking of ideas from outside my brain which get lodged in my subconcious without my knowledge or the fact that the idea may already exsist wihout me having being exposed to it. All I would ask is for my name to feature on any publications, web etc which features the idea.
The least initial deviation from the truth is multiplied later a thousandfold
It is a pleasure to announce “Initial Deviations,” an exhibition of works curated by Kara Brooks at Palisades. The exhibition intends to bring together the Bushwick community not only by featuring local artists, but also by taking place in a multipurpose venue.
The three artists in ”Initial Deviations” investigate mental images, waves of events and emotional expression through repetition. The subject matter gains velocity as it evolves in the process, resulting in an abstraction of the original idea. Instead of fearing the multiplication of these deviations, the three artists embrace the transformation, allowing the viewer to experience the original subject in a constantly changing form. As a grouping, these works illustrate the fragility and malleability of memory.
Solomon Alexander Chehebar’s paintings uncover figures amongst a expressionistic frenzy of colors on canvas. Instead of focusing on a specific event, he uses a variety of paints and textures as a therapeutic means, putting forth the embodiment of his individual experience.
The faces depicted in Claire Lachow's works are her endeavor to remember strangers she encounters. While Lachow intends for faithful portrayals, her recollections are as mercurial and unstable as her media of choice – ink and water.
In this series, Brian Stremick fantasizes about lands that he has never been to before and attempts to transport he viewer to a landscape that he charted himself. Much like the condensation of memories, his conté crayon drawings take their form what has occurred in the past – over time the straight horizon begins to wobble and become a series of random occurrences brought on by the hand.