NYC

Pedro Zylbersztajn: brickwork at Americas Society

Above, L to R: Gabriela Rangel and Pedro Zylbersztajn at Americas Society.

This article was originally published in Arte Fuse.

I love to give a work of art the benefit of the doubt that I normally wouldn’t; when something seems so obscure that I can’t figure it out. It reminds me of my first post ever on Artifactoid, and my initial purpose for art writing: to break boundaries, expand thought, contribute to the active dialogue of the field, and hone taste and values upon which to better understand both art and humanity. I recently experienced a work of performance art at Americas Society that returned me to this original idea. The performance was brickwork (2017) by Pedro Zylbersztajn, a Brazilian artist who works with technology, sound, publishing, and other media. brickwork is defined as “a physical record of the process of re/construction of language.”

When I first arrived at Americas Society for the performance, I was handed a four-page pamphlet with sections of ambiguous poetic text printed in black ink on black pages. It was difficult both to visually read and comprehend.

I then walked to the room in which the performance was being held. The performance was unintelligible, like the pamphlet. It entailed the artist sitting at a desk in the center of a room. Viewers lined the surrounding walls, looking in. There was a record player placed upon the desk, and for about 15 minutes, the artist deejayed transparent, white records on it, playing the sound of words being spoken with extremely low sound quality, almost as if the voice being sounded aloud was under water.

Witnessing this was a perplexing and frustrating experience. The words sounded aloud on the records were the artist inaudibly vocalizing the illegible text written on the pamphlet.

Zylbersztajn continued to swap out one record disc for the next in silence, until all the text had been sounded aloud in scratchy, low quality. When he placed the final disc on the player, it played the first line that the audience could hear: “this will not be my last sentence,” over and over again, until it stopped. The performance had ended. My reaction was a hope that the Q & A to follow would provide a thorough explanation, because I didn’t know how to feel after witnessing it.

Thankfully the Q & A, led by Americas Society Chief Curator and Director of Visual Arts Gabriela Rangel, revealed many intricacies of Zylbersztajn’s brickwork and contextualized it within his body of work as a whole. Rangel shared that she discovered his work while conducting studio visits at the MIT Art, Culture and Technology program, from which Zylbersztajn commenced the following day.

brickwork has to do with the process of re/construction of language. For Zylbersztajn, this relates to his “interest in the perpetual shifts and slippages in the use of language, an object [he assumes] to be individually and socially constructed and reconstructed with every new utterance, which is where this metaphor of language as a permanent building site comes from.” Words are like bricks, which can be both building blocks and political weapons. Zylbersztajn also notes that “the text references the Tower of Babel quite a lot, and this relationship of building, bricks, mortar, and language is very present in this story.”

Zylbersztajn’s idea of the black pamphlets printed with black ink as difficult to read, and his idea of the bad quality of the records as difficult to audibly process, were intentional choices. These step-by-step blockages of comprehension, via different media, each in relation to distinct senses, were part of a structured process created by the artist.

This structure (order, reception, method, execution) and texture (printing quality, recording quality) in each part of the performance were two of brickworks‘s core elements. Zylbersztajn noted that the Brazilian poet João Cabral de Mello Neto once said, “we’re people of much texture and little structure” (referring to Brazilians). It is interesting that this quote was a factor that inspired Zylbersztajn to create an equivocal artwork that isolates structure and texture.

Additionally, the audience’s discomfort, related to both the inability to read the text and the inability to hear the recorded sound well, is representative of the artist’s emphasis on the idea of opacity, another central element of the piece. Opacity has a tradition in poetry, and it is also a political concept. It was the element that created a tension in the performance. Zylbersztajn notes, “opacity, illegibility, and the borders/limits of language are very much in the center of this work and my practice in general.” Conceptually, brickwork confronts the importance of opacity in an age of transparency, in which we are all publishing our lives via data sharing. We are accustomed to living transparently in 2018, and brickwork demands another type of interaction.

An unexpected note that Rangel’s Q & A revealed was, that the final repetition of the last line of the text, “this will not be my last sentence,” was a much more profound choice for the artist than initially perceptible. This line was inspired by a poem that the artist read following 9/11 about the tragedy’s victims, by the Polish poet Wislawa Szymborska, called “Photograph from September 11,” which ends with the stanza:

I can do only two things for them—

describe this flight
and not add a last line.

According to Zylbersztajn, “this sense of impossibility and futility in that statement, which is technically a paralipsis, was something I was thinking about when I wrote my own ‘not-last-line’ or ‘not-last-sentence.’”

The artist’s choice to study at MIT also had a specific influence on brickwork. The artist custom created the records using a laser cutting technique developed by fellow MIT student, Amanda Ghassaei. Zylbersztajn explains that “regular records are made by cutting the grooves onto a wax plate, in an analog process of translating the sound to movement. Zylbersztajn explains that “regular records are made by cutting the grooves onto a wax plate, in an analog process of translating the sound to movement. This plate is then used as a matrix to create vinyl copies that have the same grooves which can be ‘read’ by the player’s needle. The process that I used, which was developed by Ghassaei, converts digital audio into lines that simulate the movements of the analog grooves, and these lines are then laser etched into a surface. The needle reads it in the same way, but the material, the definition and the digital-analog conversion don’t allow for hi-fidelity, and there are some other interesting quirks, such as the fact I explored of the decaying sound quality in function of the radial dimension of the record.” Zylbersztajn decided to utilize Ghassaei’s records for this performance piece as the vehicle to play his own voice recording of the text in the pamphlet in an indecipherable and degenerative way. This comments on the materiality of the records, and presents them as objects that mediate communication. Also a professional publisher in Brazil for many years, Zylbersztajn is interested in abstract forms of publishing, and the giving and receiving of information through the manipulation of various media.

brickwork conveys Zylbersztajn as thinker, publisher, DJ, poet, and researcher. This performance piece comprehensively showcased the artist’s ability to create something unique and challenging. Regarding his future endeavors, Zylbersztajn also mentioned that he is particularly interested in the concept of “art as research” and “research as art,” which is emphasized in his MIT program.

When 1960s Sci-Fi and Surveillance Collide in 21st Century Sculpture: Björn Schülke Vision Instruments at bitforms gallery

Above: Björn Schülke, Beam Engine #1, 2016, Brass, mirror, paint, electronics, solar cells, motors, laser, 7.1 x 15 x 9.9 in / 18 x 38 x 25 cm

This article was originally published in Whitehot Magazine.

—

Would there be world peace if aliens attacked Earth? After all, doesn’t everyone get along better once they share an enemy?

In the divisive global political environment confronting us, I find myself wishing for the aliens to appear.

I started thinking about this after learning about Raumpatrouille Orion, or, “Space Patrol Orion,” (1966), the first ever German science fiction TV series, which inspired Vision Instruments, a collection of sculptures by Björn Schülke currently on view at bitforms gallery on NYC’s Lower East Side. According to bitforms gallery, Raumpatrouille Orion reflected a certain Cold-War era global attitude of idealistic utopianism, and the mentality of conquest and emphasis on space travel, which is also present in a lot of Schülke’s work.

Schülke was born in Cologne, Germany in 1967. Perhaps as an artist he was drawn to exploring the collective psychology of the environment into which he was born, utilizing Raumpatrouille Orion as his case study. But, what can we learn from Raumpatrouille Orion now? I think that some of the answers might lie in what else Björn Schülke focuses on in his sculptures.

Björn Schülke, Vision Machine #8 , 2016, Brass, steel, wood, mirrors, paint, camera, display, sensor, electronics, 15.75 x 11.8 x 14.2 in / 40 x 30 x 36 cm, Edition of 3, 1 AP (variant)

The other central theme of much of Schülke’s work is questioning the ways in which we interact with technology. To us in 2017, the “technological frontier,” its own universe without borders, can be compared to the physical universe within which exploration was idolized during the Cold War. At that time, we worshipped astronauts like rock stars. Today, we worship tech innovators like rock stars. That is absolutely not to say that we have stopped revering our astronauts, but rather to say that when it comes to astronauts versus tech innovators, the media has switched their “it girl” over the decades and the technologists are their latest sweetheart.

So, how are we interacting with technology, this thing that we worship? I think that one thing that Schülke is trying to say with his art is that we are giving it too much power.

His shiny, white, mechanical, stick bug shaped kinetic sculptures range from about the size of a football to the size of a refrigerator, and are mounted on the walls, floor, and ceiling of the gallery, surrounding viewers from all sides. They each have unique sleek, futuristic designs, but are futile in function, clearly separating them from the product design prototypes of the tech world and setting them firmly in the art category.

Although futile, they each beckon us to interact with them. For example, we look to find our reflections in the tiny circular mirrors that some of them have, and look to see our images picked up by their cameras, even though their cameras are operating in connection with a surveillance system. This evokes the Privacy Paradox, in which we are tempted to upload mass quantities of information about ourselves onto the Internet, almost like a mirror of ourselves, even if it is at the risk of our own security – which we then express simultaneous concern about.

Björn Schülke, Drone #9, 2016, Fiberglass and epoxide, wood, mirrors, aluminum, display, camera, electronics, sensors, video transmitter, 43.4 in / 110 cm, height, 118.2 in / 300 cm, diameter

In addition, many of the sculptures are equipped with small solar panels that take in light and charge the small batteries within them. Once the charge of the battery reaches a certain level of fullness, the sculpture moves, and is brought to life, like a little anthropomorphic creature that we created, but that now has a mind of its own and operates without our assistance, catching us off guard.

This is not the first time I have seen the issue of surveillance explored in art. In fact I have seen it utilized many times, and have written about it on several occasions as I consider it one of the interesting current themes that the global creative community is having an active discourse about. You can see some of my prior explorations of this topic in my articles about The Privacy Paradox 2016 group show at Reverse Gallery, the artist Joel Holmberg at New Museum, the artist Lorraine Oades and her project TV Tracker (a part of a 2015 group show of artists from Quebec at Knockdown Center). To note, there is also a radio show on NPR right now called The Privacy Paradox.

Björn Schülke, Supersonic #3, 2008, Fiberglass, plywood, steel, motion sensors, theremin, woofer, tweeter, amplifier, paint 22 x 46 x 15 in / 56 x 117 x 38 cm

So, back to my original question, what can we learn today from Schülke’s revival of ideas from Raumpatrouille Orion? I think that the obvious conclusion is that while it was the first German sci-fi television show, from over fifty years ago, those same issues in the show apply now. Today it seems that it might still require this threatening, alien outside force to attack for all of us humans to band together to achieve peace on earth. What shape and form would that “force” take if the show were remade today? Could it be something like climate change, or related to technology?

Björn Schülke, Drone #9, 2016, Fiberglass and epoxide, wood, mirrors, aluminum, display, camera, electronics, sensors, video transmitter, 43.4 in / 110 cm, height, 118.2 in / 300 cm, diameter

Finally, it is this issue of surveillance resurfacing in both the outer space universe and the technology universe. During the Cold War era of Raumpatrouille Orion, sci-fi fear of aliens was this major allegory for xenophobia, fear of other countries, and fear of apocalyptic nuclear disaster. Sound familiar? At that time, a person might have asked, who are the aliens from outer space who are watching us, spying on us, maybe ready to attack? Today, we could think in those same terms, but digitally. Who is watching us, spying on us, maybe ready to attack, replete with our data?

Reflections on Manus X Machina at the MET: Fashion and Technology, Couture to RTW

While Yves Saint Laurent once quoted, “Art is a very big word for couture. It’s a métier like any other, but a poetic métier,” it was difficult for me to look at the pieces on display at the MET’s Manus x Machina exhibit and not see many of them as wearable sculptures.

Dress featuring both hand-embroidered and 3D-printed elements, by threeASFOUR, 2014

If you didn’t get a chance to check out the recent fashion and technology exhibit before it closed this Labor Day weekend, I wanted to give you an opportunity to see some of the beautiful pieces that were featured, and consider the topic of fashion and technology.

Iris van Herpen dress including polyurethane resin and iron fillings hand-sculpted with magnets, Autumn/Winter 2014

One thing that really struck me about this Apple-sponsored, Andrew Bolton-organized exhibit was that, for a fashion and technology exhibit, it didn’t feel very high-tech. It was more like a retrospective of how high fashion has kept up with and experimented with the tech of its time over the last century. For instance, many of the 3D-printed pieces which were presented as some of the more technologically advanced of the show were created several years back. I’d even previously seen the Iris van Herpen 3D-printed corset in early 2014 the Bass Museum in Miami.

Iris van Herpen, 3D-Printed Dress (far right, 2010)

The lower-tech vibe of the show, on the positive side, can be viewed as a testament to how well some of the show’s participating haute couture designers have been integrating new technologies into fashion – allowing couture to retain its handmade look while keeping up with some of the latest technologies available. According to The New York Times, this has always been the case, i.e., with the invention of “the sewing machine (used to make a Paul Poiret coat in 1919) and machine-made lace (Coco Chanel, in the late ’30s).”

Gowns, Dior (left, center) and Alexander McQueen (right)

There also seems to be a limiting factor in regards to the marriage of high-tech and haute couture: since a lot of technology is created to be utilitarian, and by its nature haute couture seems to be the antithesis of utilitarian, will the applications of technology in haute couture be limited to purely the aesthetic?

Even when considering Hussein Chalayan, whose fashion designs have included robotic, LED, and remote controlled technologies, the tech provides a visual wow-factor but no practical benefits for the wearer. Then again, no one ever looked to haute couture for its practicality.

Has it been frowned upon in the fashion world for couture to incorporate practical technology? Is there this consensus that the wearer of couture wouldn’t need high-tech life hacks woven into her ensemble at the moment of wearing it because its presence might reveal her earthly needs in her moment of being a goddess? I wonder if any designers right now are experimenting with pushing what those limits seem to have been.

“Kaikoku” Floating dress, Hussein Chalayan, 2011-12

Breaking from those limitations, the ready-to-wear fashion industry on the other hand is using technology to transform clothing itself into wearable tech smart devices. For instance, Google’s “Project Jacquard” recently debuted a partnership with Levi’s for a smart commuter jacket made of tech-connective denim that you can swipe like a smartphone screen to answer calls, control your music, and more, while remaining alert riding a bike. Antonio Cerruto, an engineer working on Project Jacquard, notes, “What I find exciting is that the people working on fashion tech now are the people who will be defining a vocabulary and mode of interaction for this area.”

It’s interesting that while tech is being integrated into both haute couture and ready-to-wear fashion in different ways, the core principles of the two categories – one as essentially wearable art and the other as utilitarian – seem to remain the same. And, the most “cutting edge” of the tech seems to be applied to the most common of the clothing: a denim jacket.

Vanitas and Explorations of Eroticism in Consumer Culture: In Conversation with David Baskin

The art scene in Bushwick is of the most thriving in New York, and it attracts artists that span the spectrum of early-career through well-established. David Baskin is an artist of the latter category. He is a conceptual sculptor who has exhibited at the Brooklyn Museum, Sculpture Center, and NYC’s Grace Building lobby (commissioned by Arts Brookfield), among other recognized institutions both in the US and internationally. While Baskin’s sculptures range from structures as ornate as antique chandeliers to hyper-simplified monochromatic mold-like forms, they all share the common thread of being comprised of recognizable everyday objects.

Following a v cool studio visit to Baskin’s Bushwick creative space, Artifactoid sits down with the artist to discuss his work in connection with the 17th century Dutch artistic traditions that inspired it, as well as its relevance in contemporary society, problematizing the relationship between human beings and material possessions throughout the ages.

What inspired you to work with the art historical idea of vanitas?

The Vanitas project began with the idea of using art historical models to address contemporary issues, specifically consumerism. Many of the Dutch vanitas paintings were made during the Dutch Golden Age, roughly spanning the 17^th century. I saw a relevant connection between this period and our present day culture. The Dutch created the first modern market economy, which can be seen as a model for our capitalistic system. The East India Company was the first multinational corporation and was financed by shares that established the first modern stock exchange. To finance the growth of trade and the economy, the Bank of Amsterdam was established, a forerunner to the modern central bank.

Obviously, every work of art is a product of the time period in which it was created and I see the Vanitas paintings as having a particularly unique connection with the socio-economic climate of the Dutch Golden Age.

An abundance of commodities based on mercantile trade comprised much of the objects on display in these paintings. I saw this as having a direct relationship to our current consumer culture. One of the Flemish painters who exemplified this connection the most was Adriaen van Utrecht. His work depicted a sumptuous and abundant display of objects, ranging from exotic fruits, flowers, dead animals, glassware and foreign and local luxury items that were available in the 17^th century Antwerp markets. These paintings, depicting a range of “consumer goods,” brought to mind retail stores and malls where a seemingly endless amount of products are on display to entice consumer desire. Clearly these historic works can be seen in a contemporary consumerist light.

(Above: Still Life with Bouquet and Skull by Adriaen van Utrecht)

Describe the connection between consumerism and vanitas present in your work– ideas of vanitas in our contemporary culture. How did the intersection of these concepts lead you to develop your different series of works, including your still life pieces and fountain?

I initially became interested in the notion of the “still life” through my interest in consumer culture and retail display strategies. Abundance is a central theme to the historical still life and it seemed to me that the notion of the contemporary “still life” was more relevant in a retail context than solely in an art historical context.

I also saw the 17^th Century Calvinistic message to renounce earthly possessions as a kind of early consumer critique. The historical vanitas paintings represented a moral lesson that would have been understood by early Dutch viewers. The message had religious overtones that emphasized the transience of life and the need for moderation and temperance, particularly when it came to amassing wealth and possessions. The irony here was that many of the paintings were commissioned by the merchant class and became commodified and highly prized as valuable possessions in themselves. A kind of meta-fetishization occurred, reinforcing the idea that an artwork isn’t separate from a market economy.

The “still life” sculptures that I make incorporate these ideas by bridging the historic model with our contemporary consumer culture. All of the objects in the sculptures were store bought and my active role, on one level, is as a consumer. I selected chromed objects to emphasis a false sense of desire and value, most items arranged in the sculptures are kitsch and ersatz products that are ubiquitous throughout the retail landscape.

The fountain sculpture is also an extension of the Vanitas project. Instead of chromed metal, all the objects on display are made of glass and crystal. I was thinking about the original purpose and function of a fountain as a source of drinking water for residents of villages and how now it can be seen as a symbol of personal and corporate wealth, power and excess.

What is your selection process like for the different items/elements that go into each of your still lives?

Some items directly reference objects and symbols that one would find in the historical work… a skull, flowers, and animals. But mostly, I was looking for a cross section of consumer goods that everybody could identify and relate to. Some items create vignettes within the larger group of objects and all were made either in China, Mexico, South East Asia and India, reflecting the current international manufacturing hubs based on globalization and free trade policies.

What led you to create the works, “Still Life (Cosmetic Bottles),” and “Dove Bottles?” What did you learn about consumer culture from creating this project, and in which ways was the result of the piece either different from or similar to your original imagining of the work?

The sculpture “Still Life”(Cosmetic Bottles) was the first work of art I made that addressed the still life as subject. It comprises a selection of store bought cosmetic bottles that were cast in pigmented urethane rubber. A mold was made directly off of the original manufactured forms. By re-contextualizing the products in a fleshy colored rubber and by stripping them of their brand recognition, logos, or semiotic labeling, one begins to see the high aesthetic quality of these objects and what was once a latent eroticism now becomes quite overt. By revealing the “naked” forms of the bottles one can see the strategies and narratives designers incorporate to sell products and act upon the subconscious desires of consumers.

Similarly, the Dove Bottle piece follows the same strategies as “Still Life” (Cosmetic Bottles). A variety of colored cast resin Dove bottles were installed in the window of the gallery, Carriage Trade, NY, NY, for the exhibition: Market Forces, Consumer Confidence. As with retail shelving and window displays, the objects on view were meant to engage the viewer on a purely visual level. Referencing planned obsolescence and the endless quantity of consumer products the bottles also become stand-ins for minimalist sculptural strategies. The window installation inside the gallery intentionally set up a dialog with the external retail environment in Soho, once the center of New York City’s art world.

How did you decide to show your works inside display cases? How does this decision affect the experience of the work?

Once I began making the sculpture I was confronted with the issue of presentation. The objects in a traditional still life were always on a table or some sort of substrate and there was a great deal of attention paid to the arrangement and relationship between each item on display. It was a type of stage setting, a mise-en-scene that created a space of intentionality. I brought these ideas into my sculptures and decided a vitrine would be the best framing and display device. On one level, the pieces are a kind of Wunderkrammer or Cabinet of Curiosities. The vitrine creates a literal and conceptual border for the objects and artifacts. I also was very much aware of the role of the vitrine in institutional museum display and it’s relationship to retail window display. Each serve to heighten the intrinsic or aesthetic value of the object and can be seen to have a direct relationship to the shop window in the rise of commodity culture going as far back as Joseph Paxton’s Crystal Palace and the Parisian Arcades in Walter Benjamin’s theoretical writings.

If you are in the US, see Baskin’s work this fall in Brooklyn at Smack Mellon, “20yrs,” from November 12 -December 31, 2016, and if you are in Europe, at the MU Museum, “For Play,” from October 7th – November 30th in Eindhoven, Netherlands.

About David Baskin:

David Baskin received a BFA from The Cooper Union in 1987. Solo exhibitions include Arts Brookfield, Grace Building Lobby, NYC, Freight+Volume Gallery, NY, NY; Sculpture Center, NY, NY; Ingalls & Assoc., Miami, Fl and Black and White Gallery, Brooklyn, NY. Selected group exhibitions include the Brooklyn Museum of Art, Brooklyn, NY; Marianne Boesky Gallery, NY; Carolina Nitsch, NY, NY; Pavel Zoubok Gallery, NY,NY; Munson Williams Proctor Arts Institute, NY; Triennale Design Museum, Milan, Italy; Musée de Design et d’arts Appliqués Contemporains, Lausanne, Switzerland; Carriage Trade, NY, NY; Galerie Erna Hecey; Brussels, Belgium; Lesile Heller Gallery, NY, NY; Rudolf Budja Gallery, Vienna, Austria; Flag Art Foundation, NY, NY. Honors and awards include McDowell Fellowship, NH; Pollock-Krasner Foundation, Yaddo Fellowship, NY; Commission through Brookfield Properties for a lobby installation at the Grace Building, NY, NY. He has taught at the Cooper Union School of Art, New York Institute of Technology and was a visiting critic at the School of Visual and Arts, NY, NY; Pratt Institute, Brooklyn, NY, and the University of Buffalo, NY. David Baskin was one of the original members of the Brooklyn based non-profit art organization Smack Mellon and he lives and works in Brooklyn, NY.

Culture Beach: There’s More to See at Fort Tilden than Katharina Grosse’s Painted House

The Rockaways: Your friends might all be going to The Hamptons or Fire Island – hey, maybe you are too! But you might also be stuck thinking (like I am many times), the only way I’m getting to the beach this weekend is by taking the subway and bus. And you know what? I’ve learned it’s pretty darn awesome. Especially when your day can be filled as filled with arts and culture as it is with seashells and waves. And that’s what brought me to Fort Tilden.

Fort Tilden is an historic district next to Jacob Riis Park. Its initial building was constructed during the War of 1812 as a part of the “2nd system” of defense to protect the area from the possibility of British attacks coming from the ocean. The fort wasn’t expanded and reactivated again until World War II, and remained active during the Cold War, but was officially deactivated in 1974 when it became an official national recreation area.

While Jacob Riis Park is now a lot of fun with eclectic food stands, live music, a bar or two, and a diverse family-oriented crowd, Fort Tilden beach is more like a quiet, hipster, adult beach where (ladies) you can freely go topless without anyone bothering you as if you’re in Europe, and check out a variety of artistic interventions thanks to MoMA PS1’s Rockaway!, the Rockaway Artists Alliance, the Jamaica Bay-Rockaway Parks Conservancy, the National Park Service, the Central Park Conservancy, NYC Parks & Recreation and Rockaway Beach Surf Club.

MoMA PS1’s Rockaway! has become a known program in New York City over the past couple of years since its inception in 2014, and deservedly so. It came to life as a collaboration between MoMA PS1 Director Klaus Bisenbach and Patti Smith, a Rockaway resident who has been visiting Fort Tilden beach since the 1970s with Robert Mapplethorpe. Rockaway! celebrates bringing the area back to life after it suffered destruction caused by Hurricane Sandy, two weeks prior to which Smith had bought a house there (queue Alanis). The debut of Rockaway! included a large-scale, site-specific work by Smith titled, “Resilience of the Dreamer,” along with projects by Argentinian artist Adrián Villar Rojas, Canadian artist Janet Cardiff, and a Walt Whitman poetry reading performed by Smith together with James Franco (a friend of Bisenbach).

This year’s main attraction is the site-specific project created by Katharina Grosse, a mid-career German artist with a hefty CV whose painted post-Hurricane Sandy ruin is generating ubiquitous buzz this 2016 summer season. So much so, that it appears to have sealed the deal making her the latest addition to the Gagosian Gallery‘s roster (which looks like it could be confused with a hall of fame of sorts but could seriously use a few more female artists in the mix). Grosse’s Rockaway! exhibition will be on view through November 30th, 2016, and her first commercial solo show with Gagosian is expected for early 2017.

If you aren’t yet aware, Grosse painted a similar dilapidated house in New Orleans’ 9th Ward following Hurricane Katrina as a part of their 2008 biennial, so this Fort Tilden installation following Hurricane Sandy can be viewed as the second in a series. According to the New York Times, Grosse’s 2008 project actually humiliated one of the hurricane’s survivors. I have yet to find more details on that story, but learning that that happened piqued my interest. I wonder how that individual felt about the art, and what his or her perspective was.

To me, something that was important while visiting was to pay attention to the fact that PS1’s Rockaway! is not the only cultural attraction to participate in in the Fort Tilden beach area. There are additional cultural centers and installations to check out that have a beautiful local vibe and help you feel the soul of the community and more intimately connect with it.

These include The Rockaway Artist Alliance gallery, and The Rockaway Theatre Company, a thriving center for the performing arts which was awarded a grant from the National Endowment for the Arts this June.

Dan Guarino, president of the Rockaway Artists Alliance, was kind enough to give me a great tour of the space and a special peek into a rehearsal for “La Cage aux Folles,” which opened at the theater last weekend to great success.

John Gilleece, Artistic Director of the Rockaway Theatre Company and Director of “La Cage aux Folles,” notes:

“Rockaway Beach, New York is a beach community with a summertime feel. Sun and surf take precedence over many other pursuits. But, what makes the Rockaway arts community unique is that the art does not begin on Memorial Day and stop after Labor Day. The two major arts groups, the Rockaway Theatre Company and the Rockaway Artists Alliance, offer year-round shows, exhibits and events. Nineteen years ago, when the RTC started, Rockaway Beach was very much underserved in the area of local, live theater. But endurance and hard work bore fruit. Today, our reputation for Broadway-quality musicals has enlarged our audience base so that we have people coming from all over the New York area.”

At the Rockaway Artists Alliance art gallery, you can currently enjoy an indoor/outdoor art show including a display of sizable paintings from the exhibit, “Forbidden Fruit: Street Art in a National Park,” and enter the large abandoned locomotive repair space where Patti Smith’s 2014 project was staged. At the theater, “La Cage aux Folles” has three upcoming performances on August 19th, 20th, and 21st, and you can get tickets here.

Marks of Permanence on Paper and Skin: In Conversation with David Sena

In NYC’s Little Italy, nestled into the west side of Centre Street near Grand Street, you’ll find one of the neighborhood’s cultural gems: David Sena’s tattoo parlor and art gallery, Senaspace. Sena, a world famous tattoo artist and fine artist known for using pyrotechnic techniques to create large-scale wall pieces, recently invited Artifactoid to his workshop at Brooklyn Art Studios to catch a glimpse of some of his latest projects and techniques. Check out our Q&A with exclusive video footage below, and stop by Senaspace for the latest show or some fresh ink.

Artifactoid: Tell me about your background using pyrotechnic techniques in your art. How did they evolve and lead to “Colored Smoke?”

DS: I began using the pyrotechnic techniques in my art work about 20 years ago… I was in art school at The Cooper Union and one day was at a gallery in SoHo where I saw an artist that had done some “paintings” or drawings on canvas with candle soot. For one of my 2D Design assignments we were to do a self portrait using the grid system to breakdown the image into small squares and then assign a value to each square. Then, the portrait was made with the collection of values in the grid, similar to a Chuck Close painting. Remembering the candle soot drawings, I thought to use a lighter to burn in different values from light to dark on the grid layout. This was my first experience using fire to make art.

The following year I was in a drawing course, and was looking for new ways to make marks on paper. Traditional mediums such as pencil, charcoal, and ink weren’t giving me the look or aesthetic I was looking for and my thoughts went back the lighter portrait. As a child I had a big fascination with fire and always loved lighting off fireworks. I remembered from experiences how the fireworks would sometimes leave behind burnt marks on the concrete or wooden surfaces I would light them off on. So I had an idea to get some fireworks, light them off on a sheet of paper and see what happened. I acquired some fireworks in Chinatown, did some experiments, and right away had found what I was looking for. Since then I have built a large selection of techniques using fireworks and other volatile materials to make my art.

Artifactoid: Describe how you created the mechanism you developed to make the “Colored Smoke” pieces.

DS: The “Colored Smoke” pieces were created by using a few different tools, i.e, a compass, which the colored smoke bombs can be mounted on, then used to draw lines on the paper with. The smoke bombs emit colored smoke and saturate the paper when directed at the surface.

Artifactoid: What are some of the biggest challenges that come along with making this type of art, and how did you overcome them?

DS: I would say constantly being cautious and safe with using fire in a controlled environment is one of the biggest challenges.

This is constantly on my mind – to be aware of what I’m doing and not let any particular process or fire get out of hand to where an unwanted fire is started. Fire can obviously be dangerous, so I rigorously remain alert to any prevent any accidents.

Artistically, the challenge is to make art and not wind up with simply a burnt piece of paper. I am exerting different amounts of control over the process but not everything can be foreseen so I have to be open to the marks the fireworks make and use them to best accomplish the desired design and composition. The process builds upon itself and I am always finding new techniques as I work with different pyrotechnics and tools.

Artifactoid: How does your career as a tattoo artist influence your additional artistic practices?

DS: My career as a tattoo artist has coexisted well with my studio work. I feel they are very similar in their very direct and permanent means of making marks on paper or skin, just as I cannot erase a tattooed line, I cannot undo a burnt line on paper. The tattoo imagery I work with has also come to be included in some of the more illustrative subjects of my fire drawings. Luckily my career as a tattoo artist has provided me with the time and resources to keep making my fine art, all the while keeping my hand and mind in creative practice.

Artifactoid: What are some other ideas and techniques for pyrotechnic art you’re looking forward to testing out in the future?

DS: I would like to start doing larger-scale projects and installations with my pyrotechnic techniques. I would also like to incorporate light and video projections as I did in some early work.

Tonight, Thursday, July 14th 2015 from 6PM-9PM, is the opening reception for “New Amsterdam, Photographs by Richard Koek” at Senaspace, 229 Centre Street, New York, NY. Look forward to seeing you there!

Interview with Eduardo Navarro: Instructions from the Sky at Frieze New York 2016

This year at Frieze New York, a select handful of renowned artists executed unique live performances as a part of the fair’s special projects series. One of those artists was Eduardo Navarro, a talent I follow from Buenos Aires, Argentina. You may remember him from the article I wrote in January that explored his work with the Guagua Pichincha volcano in Ecuador.

Returning to work with natural forces, Navarro exhibited a piece at Frieze titled, “Instructions from the Sky,” which focused on the unpredictable movement of clouds. The meditative, eye-opening project featured a troop of dancers dressed in sculptural mirrored discs, enacting choreography that reflected the behavior of the sky floating above Randall’s Island during the fair. In this interview, Artifactoid sits down with Navarro to talk inspiration, vulnerability, and what he liked best at Frieze this year.

Artifactoid: What inspired you to create “Instructions from the Sky?”

EN: Reading a meteorology book my dad has, called, “Learning to Read Clouds.”

Artifactoid: Does “Instructions from the Sky” relate to any of the other great projects you’ve done that involve nature?

EN: Not really; this work is a mixture of different approaches I’ve had in other projects; it’s between sculpture and performance. It’s about connecting with something much larger than us and not having control.

Artifactoid: How did the way that the sky behaved during Frieze New York affect how these iterations of the performance turned out?

EN: Since the sky was telling us what to do, we had to adjust, and in many cases we were not able to go outside and perform. When it rained, we played and experimented with the reflections of the mirrors inside.

Artifactoid: What are some of the most important things that you learned from creating this project?

EN: It was great to delegate control, but it has a price; that price is anxiety. It was great to learn to not pay attention to the anxiety of the audience, and to feel free to improvise. I tricked myself into thinking it was always a rehearsal, and it was somehow.

Artifactoid: What are some of the key differences you’ve noticed between presenting a work at an art fair versus a gallery or museum?

EN: Well, for example, this project was perfect for a fair; if the weather was bad, people still had something to see!

Artifactoid: Aside from your own work of course, what were some highlights of Frieze New York 2016 for you?

EN: I completely fell in love with “Gabriel,” the donkey that performed for Maurizio Cattelan’s work.

(Above: Eduardo Navarro)

To experience Navarro’s work currently in NYC, head over to P! (334 Broome St.) for their show titled, “For Every Purpose,” which features his project, Títulos (2007-2015), through June 26th, 2016.

The Redefined Gallery Opening: There’s No Art on the Walls and Everyone is Staring at their Phones (+ Bonus Interview with a Feminist Sex Worker)

When Artifactoid first launched, I wrote an article about a work of art by artist Joel Holmberg at the New Museum, in which Holmberg worked with the concept of privacy in the digital age. The piece transcribed a telephone conversation between Holmberg (the artist) and a customer service representative, during which Holmberg expressed security concerns related to possibly publicly having overshared (in a published interview) answers to his private security questions that granted access to his bank account. According to the New Museum,

“Holmberg’s work questions how we ‘secure’ ourselves amid a proliferation of consumer identities that are subject to collection, monetization, and surveillance by an indiscernible number of forces, from private companies to third-party marketers to the government.”

While the topic of cybersecurity might be difficult for some to digest as “art,” it makes sense that more and more artists are working with the idea, as it is such an integrated and controversial, growing part of our daily lives. In Chelsea, REVERSE (an experimental gallery run by artist Andrea Wolf) recently opened a unique art show titled, BEAUTIFUL INTERFACES: THE PRIVACY PARADOX, curated by Helena Acosta and Miyö Van Stenis, that takes an original approach to the topic of online privacy.

Unlike most gallery openings where the art is displayed on the walls (or is at least plainly visible or audible), at BEAUTIFUL INTERFACES: THE PRIVACY PARADOX, I entered the REVERSE space only to see attendees sitting on beanbag chairs or standing around, all staring down at their cell phones, privately absorbed in works of art displayed on their personal screens.

On one hand, this style of opening seemed like the anti-social dystopia of the future of the digital age that I’m afraid of, and at the same time, it was intriguing, because presenting an art show in this way was a bold choice. All of the artwork in the show lives on five hacked routers, accessible in the gallery space only through viewers’ smart phones or tablets, and all of the artwork is related to the central concept of “The Privacy Paradox.”

If you’re not familiar with The Privacy Paradox, it is the idea that when it comes to privacy in the digital age, internet users’ concerns about privacy don’t reflect their online behavior. For instance, while many people may agree that privacy is important, those same people are over-sharing their data online.

Not only were the artists’ individual works related to this theme, but the art show as a whole embodied the idea of exploring the digital public vs. private by way of hacking the routers: the powerful data sharing devices were transformed (by occupy.here) into limited devices offering private experiences.

The way that the show works is that visitors are able to access the artwork by following a simple list of instructions available at the entrance to the gallery. The instructions essentially boil down to: open your device’s browser and visit the proprietary website designated for the BEAUTIFUL INTERFACES: THE PRIVACY PARADOX exhibition. Then, in your phone’s wi-fi settings, connect your phone to one of the hacked routers at a time, each named for a specific artist. Then, go back to the website, which changes to feature the artist’s work whose router you’re currently connected to, and offers each viewer a private experience of that artwork.

From bizarre to taboo, featured projects included Electronic Graveyard No. 2 by Carla Gannis, Stranger Visions by Heather Dewey Hagborg, I am a data slave and so are you by Jennifer Lyn Morone, ID by LaTurbo Avedon, and Hooker Meditation Exercise by Annie Rose Malamet.

I particularly liked the work by Annie Rose Malamet, which examines anonymity, fear, and visibility in relation to sex work. For the project, Annie used her own advertisements, client voicemails, and original footage to create a narrative of her time spent “in exile to the fringes of polite society.” It is a piece about “the anxiety of being discovered and a reflection on [her] own identity as a feminist whore.”

It was a brave project that exposed her a lot. Literally, Annie Rose was wearing sheer lingerie and talking about getting kicked out of her apartment once her roommate found out that she was a sex worker, then moving back into her parents’ house and trying to center herself through her own guided meditation exercise.

Her original perspective, sense of humor, and unconventional imagery were the perfect recipe for a transfixing piece. I’m excited to share that Ms. Malamet agreed to sit down with me for a brief Q&A about her project and her participation in BEAUTIFUL INTERFACES: THE PRIVACY PARADOX, featured below:

Artifactoid: What do you think of the style of the show and how it affects the way art is experienced?

ARM: I never really understood the gallery format of viewing art as a concept, especially in the context of an exhibition opening. I find it particularly hard to absorb video/new media work in this setting. What I like about the Beautiful Interfaces show is that viewing the work is a private experience that you don’t have to share with other viewers. I’m very greedy and I prefer to look at art by myself through my headphones. This is part of why I make net/video art; it is a democratic art form in that sense that anyone can look at a website or watch a video from the comfort and privacy of their bedroom. I like to imagine people watching my work in bed with their headphones. I have never had a life-changing experience looking at art in a gallery setting. When I saw the Pieta in Rome, I was extremely disappointed because it was jam packed with people and situated in such a way that the intimacy of that sculpture was lost. All of my best viewing experiences have been in my own home. I love that Beautiful Interfaces kind of replicates that by making the experience one you share intimately with your personal device. I think it’s a great format for my piece in particular because the video is all about privacy and isolation. I honestly feel it replicates the existence of being a sex worker; we are in very isolated, controlling, and private relationships with our phones.

Artifactoid: What was it like participating in a show like Beautiful Interfaces?

ARM: Participating in this show was frankly, a scary experience. Being in a room with a large group of people watching a video showing you completely naked and talking about sex work is an indescribable experience. I felt vulnerable and exposed. I was initially quite scared to “come out” in this way, to reveal so much of who I am and how I process the world. Perhaps this is my own anxiety and insecurity, but I could feel people watching the video, eyes falling on me and thinking, “ok that’s the girl who made the video about escorting.” Whenever I come out to someone I can almost hear them wondering how much it costs to spend time with me. I mean, who wouldn’t wonder that? To have that happen on a large scale is overwhelming. Overall, I’m incredibly proud of what I produced and what Helena, Miyo, and Andrea created. I think the concept of this show is genius and premonitory vision of how art will be viewed in the years to come.

Artifactoid: How did you go about creating your project with this unique style in mind?

ARM: I created this video during a period of turmoil in my life. When your life is chaotic and you are struggling, your phone becomes your lifeline. So when I was making the video I was always thinking about what it would look like on my phone. After all, most of it was filmed on my phone. The piece was made with this always in mind. I wanted to create something kind of quiet and intimate that is best experienced through headphones.

BEAUTIFUL INTERFACES: THE PRIVACY PARADOX is on view at REVERSE (516 W 25TH Street, Suite #306) through May 14th. It is truly an amazing, original gallery experience that I recommend checking out for yourself! To note, in order to see the work, you’ll need to go to REVERSE on a Tuesday or Thursday, any time between 1PM and 7PM, and bring your own device with headphones.

In addition, today, May 4th, REVERSE will be hosting a panel at Creative Tech Week called, Post Privacy: Is privacy becoming a thing of the past? at 3:45 PM at the Clemente Center (116 Suffolk St, New York, NY). Hope to see you there!

Interview: Founder, Designer, Director and Curator Prem Krishnamurthy

Whenever you go to an art show, it is not only important to consider the art itself, but the space and context within which it is presented. These are all factors that exhibition designers, curators, and artists consider when working to bring an exhibition to life. At a recent, engaging panel at Americas Society, Prem Krishnamurthy and Shannon Harvey of Project Projects shared expert insight on many key elements of putting together an art show from start to finish. In this exclusive interview, Artifactoid sits down with Krishnamurthy, designer and founder of Project Projects, an award-winning graphic design studio, as well as the director and curator of P!, a critically-acclaimed exhibition space in New York’s Chinatown, to chat about curation and exhibition design, his eight-year dedicated study of East German graphic designer Klaus Wittkugel, a new experimental artist residency onboard commercial cargo ships, and more.

Artifactoid: What are some of the most important elements of curation and exhibition design to pay attention to when viewing an art show?

PK: I find that the most important thing to consider when viewing an exhibition is: what is the exhibition’s intention? What is it trying to persuade you of? How is it mobilizing the entire exhibition apparatus (or “exhibition prosthetics,” to use artist Joseph Grigely‘s term) starting from the press release (both text and design), checklist, display mechanisms, placement, lighting, contextual information, etc. in order to make a point or sell something? If you can understand the context and polemics of any given exhibition — especially in so-called “white cube” exhibitions, which make a claim to objectivity — then you have a better sense of where you, as the viewer, are being asked to stand.

Artifactoid: At a gallery show, museum exhibit, or art fair, what are the roles of the curator, the exhibition designer, and the artist? How do their roles differ, and on which aspects do they collaborate or exchange/interchange roles?

PK: Typically, these roles are intertwined — and thankfully so. Even though exhibition credits panels like to simplify and separate these roles, in the best exhibitions, there is a healthy overlap and intersect between content, mediation, and display. Not every exhibition has all three roles explicitly, but they are implicit in the work of making exhibitions.

Artifactoid: What were some of the biggest challenges you’ve faced as a curator, and how did you overcome them?

PK: I don’t come from a curatorial background; rather, I studied art, focusing on photography and graphic design, and was drawn to organizing exhibitions and programs early on. Although I’ve always had ideas for projects, as I began over the past 8 or so years to focus more rigorously on curating, I discovered I had a lot about the professional practice of the field to figure out. However, I’ve had the great advantage of having worked as a designer with many of the most talented and thoughtful curators and artists in the field, from whom I’ve learned a lot.

Artifactoid: Tell us a bit about some of the unique elements and processes that went into putting together the most recent show that is on display at P!, from a curation/design perspective.

PK: The most recent show at P!, OST UND oder WEST: Klaus Wittkugel and Anton Stankowski was an unusual show for us on a number of levels: typically, we focus on mixing together different media, approaches, and historical periods, but this exhibition, in contrast, is truly about graphic design. This stems from the fact that I have been researching the subject of the exhibition, East German graphic designer Klaus Wittkugel (1910–1985) for over eight years. So in this case, it’s an exhibition that I have researched, organized, curated, and designed from start to finish. I’ve even acted as collector, since I’ve had to track down his work over the years! This wholesale collapse of roles almost makes it feel more like an artist project than a curatorial one. Yet in this case it’s also quite appropriate, since Wittkugel himself worked in this holistic manner, and sought, within the East German context, to broaden the role and reach of graphic design.

Artifactoid: Are there any exciting upcoming projects you’re looking forward to executing this year?

PK: There are so many projects this year! It’s a really exciting time, actually, where it seems like I’ll be able to integrate the work I’m doing in design and curating to an even greater degree. A partial list of projects includes curating and designing an exhibition called Dis-Play/Re-Play at the Austrian Cultural Forum New York in collaboration with curator Walter Seidl; curating, organizing, and designing a new and experimental artist residency onboard commercial cargo ships called Container Artist Residency 01, with project founder and artist Maayan Strauss; a new website for Ballroom Marfa; curatorial consultation and permanent exhibition design for The Bass in Miami Beach; and identity, print, and web design for Zarigüeya, a new contemporary art project in Quito, Ecuador. Plus, I’ve got a whole slew of writing and publishing projects, in addition a full exhibition program at P! — so it should be a productive “Year of the Monkey”!

For more from P!, don’t miss the upcoming show, “Maryam Jafri: Economy Corner,” artist Maryam Jafri‘s first US solo exhibition, opening this Thusrday, February 25th with a reception from 6-8PM.

Meet the Artist Who is Setting Off Fireworks with Your Tweets at the MET Today for Chinese New Year

It may be Super Bowl weekend, but it’s also Chinese New Year, and contemporary artist ChiKa has something exciting in store for those visiting the MET this Saturday to celebrate the Year of the Monkey. Artifactoid sits down with the Japan-born New York-based talent to talk projection mapping, LED light installations, and the fireworks she is setting off at the MET today with your tweets.

Artifactoid: What inspired you to work with projection mapping and LED light as mediums? How did you get your start with them and what drew you in?

ChiKa: For projection mapping, it was a natural progression of interest from working with live visuals and VJing; I was working with experimental composers, festivals and clubs. The organic next step for me was projection mapping. I wanted to explore. I got out of doing ordinary projection surfaces in dark spaces (2D screens) and moved toward doing projection mapping onto 3D surfaces and objects. As for how I got my start, I was working as a graphic designer at a big corporation and wanted to do something artsy. So, I started going out to anywhere that would let me perform live visuals and VJ every weekend.

Then, my interest in LED light installation stemmed from the projection mapping. When the software I used for projection mapping, “MadMapper,” released its new feature, MadLight, that allowed me to control LED lights from video content, I decided that I wanted to shift from projection to an LED light installation.The stage set made during Mapping Festival in Geneva also inspired me to get into LED light installations. To get started, a good friend of mine (who is one of the founders of MadMapper) gave me a jump-start technical session. I love to make the geometric structures with led lights!

Artifactoid: What are some of the most memorable projects you’ve worked on with each medium?

ChiKa: For projection mapping, it was projection mapping in Mexico during MOD Festival, and for LED light installations, it was my first large public installation, SEI02 at the Dumbo Arts Festival 2014.

Artifactoid: What was your most challenging art installation to pull off and how did you do it?

ChiKa: Every installation is a challenge. I think it is a nature of the technology. No matter how much I prepare before the installation, you never know what will happen. Be patient, organized and just clear problems one by one. Always works in the end anyway.

Artifactoid: Who are some other talented artists working in the spaces of LED and projection mapping who inspire you?

ChiKa: AntiVJ, 1024 Architecture, Nonotak, and James Turrell.

Artifactoid: What is the best piece of advice you’ve received in your career as an artist?

ChiKa: Follow your dream.

Artifactoid: How does teaching projection mapping and theater affect the way you approach your own art?

ChiKa: I can alway learn from my students. I need to be very flexible in order to be able to teach. I also teach differently every time I teach. There is no one way to teach. Art is the same; there is no one way.

Artifactoid: What are your additional artistic influences?

ChiKa: My background: being Japanese. Also, my ethicality. That always shows in my artwork. A third influence of mine is good music.

Artifactoid: Tell me a bit about your exciting project at the MET for Chinese New Year.

ChiKa: For this project, I am working with my partner in crime, Calli Higgins, who I have been working with since graduate school at NYU ITP. We are creating digital fireworks triggered by the Twitter hashtag “#metfest” during the Chinese New Year event at the Metropolitan Museum of Art. You can check it out today, here!

Artifactoid: Anything else you’d like to add?

ChiKa: I’m also installing a new artwork at Ramapo College in NJ right now. The opening is this coming Wednesday, February 10th and the installation will be on view for one month.