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.

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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.

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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.

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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!

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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.

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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.

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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.

Culture Fix: Lower East Side Galleries

In need of your NYC culture fix this week? Check out this cluster of great galleries located on Broome Street between Chrystie and Bowery. Here’s a preview of three shows to see now:

1._P!: OST UND oder WEST: Klaus Wittkugel and Anton Stankowski 

Catch the current show at P! curated by Prem Krishnamurthy and Cay Sophie Rabinowitz, on view through February 21st, 2016. This show explores the forms and ideologies of Modernist graphic design as it presents the work of Klaus Wittkugel (East Germany) and Anton Stankowski (West Germany), contrasting the production of image and meaning within competing social and economic systems.

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2.   CANADA: Katherine Bradford: Fear of Waves

Don’t miss this magical series of acrylic paintings by Katherine Bradford at the acclaimed CANADA gallery. Fear of Waves features dreamlike imagery of water and swimmers, created with painting techniques whose results take the artist months and sometimes years to achieve. Bradford’s work has been featured at P.S.1 and The Brooklyn Museum among other institutions and in 2011 she was awarded a Guggenheim Fellowship. Her work is in the collections of the MET, The Brooklyn Museum and the Portland Museum of Art. See this show through February 14th, 2016.

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3.   Nicelle Beauchene Gallery: Jonathan Baldock: The Skin I Live In

The Skin I Live In is London-based artist Jonathan Baldock’s first New York solo show. For this series of unique sculptures and wall pieces, Baldock employs an unusual mix of media to explore and engage with the physical and conceptual conditions of the human body. The work is on view until February 7th, 2016.

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Alone for the Holidays? Conceptual Photographer Suzanne Heintz has a Remedy for That

Sometimes when you walk into an art gallery opening, there’s a lot of craziness. The space can be packed shoulder-to-shoulder with people sipping booze and chatting loudly, and it can be difficult to actually get a good idea of the art you’re looking at through the sea of bright red lips and thick-rimmed glasses. While these aren’t ideal conditions for someone aiming to write an article about the art (like myself), having a glowing room of excited and supportive patrons is both a great sign for the artist showing her work, and fun!

The aforementioned describes the scene where I met Conceptual Artist Suzanne Heintz: the bustling opening night of her show “Playing House” in Chelsea at the JoAnne Artman Gallery. While I couldn’t get a thorough grasp of the story behind her work at the opening, the striking, absurd, brightly colored photographs depicting Heintz with her husband and daughter in Paris, among other settings, stuck with me. This is because I learned that unlike my family and most likely yours, Heintz’s husband and daughter are actually life-sized fiberglass mannequins, or as she lovingly dubs them, “familyquins.”

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With this in mind I decided to dive further into researching Heintz and her work, and what I found was, unexpectedly, a perfect story for the holidays — a time when for some singles, it can feel like there is added pressure from either society, family or self to be in a relationship.

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Heintz, a conceptual artist, 20-year veteran art director at Starz, and self-proclaimed spinster among other things, recalls sitting around with her mom one day having a conversation that, per Heintz’s entry in the Huffington Post Blog, went along the lines of: “Suzy, there’s nobody perfect out there. You just need to PICK somebody, if you’re going to settle down.” [Heintz] snapped back, “Mom! It’s not like I can go out and BUY a family! I can’t just MAKE it happen!”

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Then, one day shortly following this conversation, Heintz was walking around and passed by a shop that happened to have a “family” of mannequins for sale in the window. She had an “aha!” moment, and decided to literally “buy” herself a family: a husband, who she calls Chauncey, and an “eight year old” daughter, who she named Mary Margaret. Starting at that moment, Heintz set out on a fourteen year journey carrying Chauncey and Mary Margaret around to various locations, filled with countless family photo and video ops including holidays, European vacations and even a wedding.

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Heintz does an incredible job of adding a dose of smart humor (plus what is now likely upwards of a decade and a half of mind blowing dedication) to her critical examination of an important topic. On one hand, with this project Heintz comments on normative role expectations for women, encouraging them to embrace their lives regardless of whether or not they have an “Mrs., PhD, or Esq. attached to their name.” On another, according to the JoAnne Artman Gallery, Heintz also comments on “The American Dream and the pressure to conform.” To note, I found the tie to The American Dream interesting because in 2015, that phrase, in its original sense, can seem antiquated. Stemming off of that, I think it could be an interesting follow-up study to examine Heintz’s work in the context of other artists who work with the idea of The American Dream, both currently and throughout art history.

Finally, Heintz’s work is really interesting to look at within the context of today’s era of social media (especially since Heintz began her “family life” with Chauncey and Mary Margaret before social networks really took off in a mainstream way). Specifically, people frequently post photos across various social channels that seem to demonstrate that they are fulfilling ideals of happiness, but for all anyone really knows, they may as well be posing with mannequins. Per the JoAnne Artman Gallery, Heintz’s use of “radioactive color and expressionless characters hint at the darker side of conformity, namely what is lost when the image, or illusion, of happiness is confused with happiness itself.”

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Suzanne Heintz’s “Playing House” is showing at the JoAnne Artman Gallery through December 31st, 2015. Check it out in person if you’re in Chelsea this holiday season, and feel free to bring along your significant other. All shapes, sizes and materials are welocme.

Interview with Theresa Byrnes, Painter and Performance Artist

Australian-born and New York-based Painter and Performance Artist Theresa Byrnes talks with Artifactoid about inspiration, a return to her roots as a painter, and her most recent performance, “Mudbird,” created in collaboration with her 20-month-old son. 

Artifactoid: How did you get started as an artist?

TB: At age 16 in 1985, my studio was the family lounge and dining area. I would start to paint every night after dinner while everyone watched TV.  By the time everyone went off to bed one by one, I would get more and more on a roll. I would paint through the night. Soon I outgrew the family room, no longer able to pack all my canvases neatly every night without disrupting my process or running the risk of wet work being trodden on when the the family awoke. I scoured the classifieds to find a studio. I found part of a warehouse to rent cheaply, so I did. 29 years ago, at age 17 in 1986, I began to paint full-time in my very own studio!

I had already been included in minor group shows from 14 years of age and on. While in high school I did life drawing classes at night, and some of my drawings were selected for a group show. I went out on a limb and contacted a curator who included my work in a rotating VIP lounge, and my work began to sell. My first solo exhibition was at 17, but I consider being an artist about making art more than about exhibiting or selling it.

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Mistakes in painting are like an angel pushed your hand, changing your direction to somewhere you never would have gone

Artifactoid: Who are your biggest influences in performance art and why? Who inspires you?

TB: I did my first performance when I was 19 in 1989 in Sydney Australia’s Chinatown. The piece, titled “China Crisis,” was my response to the Tiananmen Square Massacre. My entrance into doing performance art was not inspired by an artist, but by heroic dissent. The cry out for freedom and justice inspires me. In “China Crisis,” I laid in front of a large red painting. For me, performance is a natural spill-over from painting: paint is my language, I just commit my body to performance. “TRACE” (2007) was inspired by a dying bird in an oil spill. In “DUST TO DUST” (2011), dirt was my inspiration – the transformative power of mulch.

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In 2002, I met Carolee Schneemann; we read each other’s books (mine The Divine Mistake, her’s More Than Meat Joy). I learned a lot about her work, and felt connected to her even more once I learned that she is also a painter whose performance flows from that.

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Artifactoid: What are some of your biggest day-to-day influences as an artist?

TB: Stains on the sidewalks, streaks with random marks on windows – I made a short  film about sidewalk markings titled, CARELESS in 2000. Tunde Adebimpe (TV on the Radio) helped me shoot and edit it (he is now my son’s godfather). It was screened at MONA (Detroit) in 2001.

Old, decaying wood also inspires me, I have done several painting series on aged wood 2001 and 2010. When I paint on aging wood, I feel like I am collaborating with nature, not trying to capture it.

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Artifactoid: How has your perspective as an artist changed over time?

TB: That nothing is permanent. Earlier in my career, well, pre-September 11th, I cared greatly about paintings lasting forever. Now I feel “archival” materials are pitched to artists who believe this civilization will survive another 500-1000 years. I am into showing who we are now, because now is real: all we have, vulnerable, avoided, denied, unnoticed. Art materials are everywhere; they’re not limited to an art store. I love to work with mud and hair and other ingredients as well as ink and oil paint.

Artifactoid: What are some of the most important lessons you’ve learned through your art?

TB: That nothing is a mistake. Mistakes in painting are like an angel pushed your hand, changing your direction to somewhere you never would have gone. In my entire 30-year career, painting still genuinely astounds me – the unguessable moment it resolves.

Artifactoid: What is the best advice you’ve ever received in your career?

TB: Be humble.

Artifactoid: In what direction would you like to take your art moving forward?

TB: I am at a turning point. I am returning to my roots as a painter, where I first discovered my talent and lost my identity/sense of separation from art in the process: painting portraits. For the next two years, I will only paint portraits. Abstraction and performance art lent to my feeling immortal, but now, I am a mother and I feel human, more grounded and more vulnerable than ever. I am pulled to dive in in this direction.

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Artifactoid: What advice would you give to other artists?

TB: Know when to stop. As long as you are making art, “you’ve made it.”

Artifactoid: Please describe your inspiration behind “Mudbird,” and some of the most important things about the piece (to you).

TB: “Mudbird” is the second performance I have done with my son, Sparrow, (now 20 months old). In “Mudbird” I play with my baby in the mud thinking of the cycle of all beings – to live and die. We come from the earth and end up in it. Mud; earth, is a uniting and dividing force between mother and child. I gave my life for his to begin. Okay, I am not dead yet, but a part of me has died – my life as a single artist.

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At the time of performance, I felt a sense of my immanent death. I have Friedrich’s Ataxia (FA). It is a chronic and fatal genetic disorder of the nervous system. I have been wheelchair-mobile for 20 years. My voice slurring, mundane things slowly getting harder, and recently I tore my right rotator cuff. I have never felt disabled, as I have always fulfilled my aims and called the shots, but post-birth and with injury, I felt unusualły hopeless. Sure I cannot walk, but now I can’t fly; wings clipped. Much of the “Mudbird” series is about my burial and Sparrow’s flight. It has been a burial of several parts of myself. And now I again recreate myself, or return to who I am.

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Theresa Byrnes has had over 25 solo shows at spaces including Saatchi & Saatchi in New York and Sydney, and the Australian Embassy in Washington D.C. In 1996, she was awarded Young Australian of the Year. To keep up with Theresa and her latest works, visit her website and follow her on Instagram, Twitter and FacebookStop by her gallery space, TBG (616 East 9th street between Avenues B&C), for her next opening on December 9th, 2015 . 

Santiago Villanueva, Y Gallery

I first met Artist Santiago Villanueva in 2010 in Buenos Aires. We were inside of the University of Buenos Aires social sciences campus, called “Marcelo T. de Alvear,” spending the day hijacking social and political student protest posters that would later be utilized in another artist’s exhibition in Scotland. That university campus is known as the most activist campus in the city.

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At that time I was very wide-eyed and excited, witnessing first-hand this incredibly palpable activist energy in Buenos Aires. I was noticing the strong sociopolitical commentary both in the city’s daily life, as well as in art and expression in Argentina in general. It was coming from students and citizens of all walks of life, as well as from the top contemporary artists in the country.

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I’m thrilled to share that Villanueva, one of the influential contemporary artists I had the privilege of spending time with there, is currently exhibiting at NYC’s Y Gallery on the lower east side with a show titled “First Impressions.” The exhibition comprises a series of recent works that reflect his continuing revision of Argentinian history and art history.

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“First Impressions” combines a mid-19th century Argentinian visual tradition called the “disorderly table,” or, “mesa revuelta” (imagine it as a messy still life), with the results of Villanueva’s past two years of research about Argentinian art history. For the project, Villanueva worked with a variety of media including papers, threads, letters, documents and images selected from both the mass media and the works of specific artists. The result is a personal map or atlas of Argentinian art history that both changes the usual visual expectations of a still life, and provides a unique, non-linear methodology for the understanding of art history that breaks from traditional pedagogic approaches.

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This exhibition marks another success in Villanueva’s exciting career. In recent years he has received a consistent stream of honors from prestigious organizations, including scholarships at the Center for Artistic Research (Centro de Investigaciones Artísticas – CIA) and the Cisneros Fontanals Art Foundation (Fundación Cisneros Fontanals – CIFO), as well as appearances in museums and institutions including the General Argentine Consulate in New York, the Museum of Modern Art of Buenos Aires (MAMBA), and the Museum of Latin American Contemporary Art (MACLA).

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Stop by Y Gallery (319 Grand St.) to see “First Impressions,” open through November 15th, 2015.