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14/1/2012

Two Exhibitions

Sculpture Center, New York

Scene, Hold, Ballast
David Maljkovic and Lucy Skaer

curated by Fionn Meade

SculptureCenter is pleased to present Scene, Hold, Ballast a two person exhibition with David Maljkovic and Lucy Skaer, artists whose work shares an engagement with sculpture, film, and distinct approaches to exhibition design. Scene, Hold, Ballast conceived as a dialog, will feature new works by Maljkovic and Skaer commissioned through SculptureCenter's Artist in Residence program. An opening reception will take place Sunday, January 15, 2012, 5 to 7pm, both artists will be present. This exhibition is guest curated by Fionn Meade.

Scene, Hold, Ballast will feature new works by Maljkovic and Skaer that further explore affinities and correspondences in their respective practices. In an ongoing series Temporary Projections Cycle, David Maljkovic's retrospective mode of tracing and negotiation is turned toward his own studio practice, its history, and imagined futures, including new works in film, painting, and sculpture. And Lucy Skaer continues her transformation of existing artifacts and architecture with a new 35mm film, a photographic series and related sculptures. Both artists have repeatedly explored what it means to inhabit and give spatial contour to their references. For example, Maljkovic gained access to the guarded test track of Peugeot headquarters in order to cast retired company workers in out-of-time embraces alongside futuristic automobile prototypes (Out of Projections, 2009), and Skaer's placed the heft of a sperm whale skeleton behind partitioned walls to enact the interval nature of the moving image (Leviathan Edge, 2009).

Lucy Skaer's installations subject the conventional classification of objects and historical references to scrutiny, shifting meaning toward the symbolic and absurd. Often working with pre-existing imagery and found forms, Skaer's sculptures, films, and works on paper emphasize repetition and variation even as they retain a gestural immediacy. Her surrogate adaptations of Constantin Brancusi'sýsculptures, for example, use familiar forms as a decoy for exploring faltering modes of industrial production and distribution, resulting in the collapse of image and object into a shared psychological space a characteristic of much of her work. Skaer's work re-animates the power of the symbolic that lies beyond obsolescence, as in a recent 35mm film that imagines the memory of a film projector from an abandoned cinema in Leeds, England.

Film, video, and stage scenography likewise play a central role in David Maljkovic's work and his ongoing critical engagement with the legacy of modernism. Constructing future histories via diverted glimpses onto overlooked moments of past innovation, Maljkovic's sculpture, collage, painting, drawing, and architectural mis-en-scene often refer to Yugoslav socialism and the aesthetics of international modernism. Maljkovic mines a rift between the utopian aspirations of former avant-garde strategies, their frequently cataclysmic results, and the present moment. The film Images With Their Own Shadows (2008), for example, is set in the villa and former studio of the influential Croatian artist and architect Vjenceslav Richter (1917-2002), and combines sound clips from Richter's last interview with highly suggestive tableaux vivant of young people, open mouthed in their attempt to speak. Here, the sounds and imagery of the past irrevocably darken the present but the future is made equally contingent through embodied, participatory rehearsal.

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In Practice:
You never look at me from the place from which I see you

A.K. Burns, Yve Laris Cohen, Michael DeLucia, Aleksandra Domanović, Takashi Horisaki, Sean Raspet, Christine Rebet, and Keith Connolly, Ethan Ham, and Tom Thayer

SculptureCenter is pleased to announce the In Practice program exhibition You never look at me from the place from which I see you, on view from January 15-March 26, 2012. Featuring works by A.K. Burns, Yve Laris Cohen, Michael DeLucia, Aleksandra Domanović, Takashi Horisaki, Sean Raspet, Christine Rebet, and Keith Connolly, Ethan Ham, and Tom Thayer, the exhibition is curated by Kristen Chappa, SculptureCenter's Curatorial Associate. An opening reception will take place Sunday, January 15th from 5-7pm. The artists will be in attendance.

You never look at me from the place from which I see you is organized around investigations into vision and location within our present moment, characterized by dispersed attention and spatial deterritorialization. In this current era of technological, cultural, and geopolitical exchange, what constitutes a site is more in flux than ever before, and the act of looking has perhaps never been more fragmented. This constellation of artists engages with scattered states that are prismatic and overwhelmed as a contextual given and an appropriate lens through which to consider contemporary relationships, interactions, and identities, and a means to arrive at revised notions of sculptural phenomenology.

SculptureCenter's In Practice program supports the creation and presentation of new work by emerging artists and reflects diverse approaches to contemporary sculpture. Artists are selected through a call for proposals and are provided with an honorarium, production budget, fabrication and installation assistance, as well as invaluable curatorial and administrative support. This year SculptureCenter received over 850 applications from artists worldwide.

Artist Biographies:
Aleksandra Domanović is a multimedia artist from the former Yugoslavia currently working in Berlin. Her art is informed by archival models and her observation of collective history and shared memories. Most of her works are derived from online sources and inflected by her transnational experience living in Serbia, Slovenia, Japan, Austria, and Germany. She has recently completed residencies at Tobacna 001 (Ljubljana), Western Front (Vancouver), and is currently in residence at Kunstlerhaus Bethanien.

A.K. Burns is a New York-based interdisciplinary artist whose practice encompasses sculpture, video, collage, and social performances. Her work is engaged with queer and feminist politics exploring such themes as fetish, power relations, assimilation, and separatism. Burns received a BFA from RISD and an MFA from Bard College. She is a founding member of W.A.G.E. (Working Artists and the Greater Economy), and co-editor of RANDY, an annual trans-feminist arts magazine.

Yve Laris Cohen recently received his MFA from Columbia, and is currently a resident at Movement Research in New York. Cohen is an interdisciplinary artist, whose performances and sculptures address shifting subjectivities and power relationships among human bodies and objects. Influenced by the Judson Theater and his training as a classical ballet dancer, Cohen's dance pieces explore ballet as a form of manual labor rather than an elite spectacle.

Michael DeLucia received his MFA from the Royal College of Art, London, and a BFA from RISD. His current artistic practice comprises relief panels, sculptures, and drawings modeled with 3D CAD software. These objects, digitally designed and mechanically painted with geometric patterns in industrial hues, reevaluate sculptural phenomenology. He has recently exhibited at Eleven Rivington (New York) and Luce Gallery (Torino).

In his sculptures, performances, and community-based, socially engaged projects, Japanese-born and New York-based artist Takashi Horisaki investigates subjects ranging from urban development and social architectures, to political and environmental crises, to the intertwined nature of virtual and physical experiences. Relating landscape to the preserved surfaces of the built environment, Horisaki seeks an awareness of the ephemerality of our constructions and their incorporation within systems of the natural world. He has previously exhibited at Socrates Sculpture Park and ABC No Rio.

Sean Raspet's work focuses on circularities of time and logic that operate across multiple spheres of everyday life. Most of his projects explore late-capitalist culture, and are composed of fragmented, rearranged, and repeated images and reflections of banal spaces. He is currently pursuing an MFA at UCLA. Raspet's past solo exhibitions include Societe (Berlin), The Kitchen (New York), and Daniel Reich Gallery (New York).

Christine Rebet is a French artist living in New York, whose practice combines drawing, film, sculpture, and performance. In her brand of social critique, Rebet addresses the traumas of personal and collective histories; she comments on spectacle, spectatorship, and the intersection of public and private spheres. Rebet completed an MFA at Columbia in 2011. She is also a recent recipient of the Lotos Foundation Prize in the Arts and Sciences.

The Spaniard and the Hudson Eel will be the first artistic collaboration by Keith Connolly, Ethan Ham, and Tom Thayer. Keith Connolly is a founding member of The No-Neck Blues Band (NNCK), a seven piece improvised music collective based in New York for the past 15 years. Ethan Ham is a visual artist and former game developer teaching new media at the City College of New York. Tom Thayer is a visual artist currently working in New York City; he has most recently exhibited at The Kitchen.


Image: David Maljkovic, Temporary Projections, 2011. Courtesy the Artist and Georg Kargl Fine Arts, Vienna.

Opening Reception Sunday January 15, 5-7pm

SculptureCenter
44-19 Purves Street, Long Island City - New York
Hours: Thursday - Monday, 11am-6pm
Admission: There is a $5 suggested donation for entry, $3 for student

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