calendario eventi  :: 

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8/11/2013

Three exhibitions

Sculpture Center, New York

Agnieszka Kurant: exformation

Long Island City, NY – SculptureCenter is pleased to present the first solo exhibition in the United States by Polish artist Agnieszka Kurant. Kurant’s work explores the hybrid status of objects and the ways in which rumors and fictions become phantom capital and enter into social, economic, and political systems of the contemporary world. Kurant is producing several new works that explore the editing process as an aesthetic and political act as well as accumulations and potentials of phantom capital.

Commissioned through SculptureCenter’s Artist-in-Residence program in conjunction with Stroom den process as an aesthetic and political act as well as accumulations and potentials of phantom capital. Haag, Netherlands, the exhibition will feature a new film with the working title Cutaways. Produced in collaboration with the renowned film editor Walter Murch (Apocalypse Now, The Godfather, The Conversation), Cutaways is based on footage of characters that were originally scripted and shot in various films but were subsequently edited out of the final versions of the films. The deleted footage of 3-5 characters will be combined with newly shot footage of a meeting of these phantom characters from various films to create a new narrative based on surplus content and labor.

Kurant is interested in the complex relationships between value, aura, authorship, production, and ownership of objects. Analyzing collective intelligence, immaterial labor, mutations of memes, and manipulations of collective consciousness, the artist seeks to explore gaps in logic that confuse and inform our understanding of the real and the fictitious.

The exhibition will also include a shortwave radio piece, 103.1 (title variable), an accumulation of silent pauses from important political, intellectual and economic speeches from the beginning of voice recording today. The work is ispired by a short story written by one of Germany's foremost 20th century writers, Heinrich Boll, “Murke's Collected Silences” (1955). Presented as a radio transmission from a reel-to-reel tape player, 103.1 (title variable) highlights editing as a creative process but also brings forward Kurant’s interest in phantom artworks because Boll’s story revolves around a sound editor who makes a recording of silent pauses. A text by Diedrich Diederichsen will accompany the exhibition.

Kurant was born in 1978 in Lodz, Poland and studied in Lodz, Warsaw, and London. She was an artist in residence at Palais de Tokyo, Paris (2004); ISCP, New York (2005); Paul Klee Center, Bern (2009); Location One, New York (2012); and Iaspis, Stockholm (2013). She represented Poland at the 2010Venice Architecture Biennale (in collaboration with the architect Aleksandra Wasilkowska). Her works have been shown at: Witte de With, Rotterdam (2011); Palais de Tokyo, Paris (2004); Tate Modern, London (2006); Zach_ta National Gallery of Art, Centre for Contemporary Art Ujazdowski Castle (2009), Warsaw; among other international venues. She participated in several international contemporary art exhibitions including: Performa Biennial, New York (2009); Moscow Biennale (2007); Bucharest Biennale (2008); and 2nd Ural Biennial (2012). In 2009 she was shortlisted for the International Henkel Art Award (Mumok, Vienna). Sternberg Press published her monograph, Unknown Unknown, in 2008.

Agnieszka Kurant: exformation is organized by Mary Ceruti, SculptureCenter Executive Director and Chief Curator.

SculptureCenter’s major exhibition and operating support is generously provided by grants from the National Endowment for the Arts; the New York City Department of Cultural Affairs; New York State Council on the Arts; Lily Auchincloss Foundation, Inc; Bloomberg Philanthropies; the Kraus Family Foundation; the Lambent Foundation fund of the Tides Foundation; the Joan Mitchell Foundation; the New York Community Trust; the Pollock-Krasner Foundation; the Andy Warhol Foundation for the Visual Arts; the A. Woodner Fund; and contributions from our Board of Trustees. Additional funding provided by the Milton and Sally Avery Arts Foundation; Goldman Sachs; A G Foundation; the Ken and Judith Joy Family Foundation; the Peter Jay Sharp Foundation; and contributions from many generous individuals.

Agnieszka Kurant: exformation is presented in collaboration with the Polish Cultural Institute New York. SculptureCenter’s Artist-in-Residence program is supported by the Milton and Sally Avery Arts Foundation.

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Tue Greenfort: Garbage Bay

Long Island City, NY – SculptureCenter is pleased to announce the first US solo exhibition of Danish artist Tue Greenfort, whose interdisciplinary practice deals with the overlap of public and private realms, natural and cultural history. Commissioned through SculptureCenter’s Artist-in-Residence program, Greenfort is producing a new body of work that considers art’s role in reaffirming and dismantling assumptions about nature and the environment.

Through extensive research, discussions with experts, artists and environmentalists, the exhibition and artwork presented examine the site of Jamaica Bay, a marshland that spans the outer boroughs of Brooklyn and Queens in New York City. Greenfort’s exhibition and the discussions hosted around it will seek to uncover parallels and contextualize relationships between art, ecology, and politics, using the actualities of the specific site of Jamaica Bay, as well as its broader implications.

By focusing on the site of Jamaica Bay, the exhibition charts an exploration of wetlands, while examining the specific role of the marshland within the water systems of New York. Although they are significant ecosystems, wetlands such as swamps and marshes have a limited recreational function for humans; in fact they can often be inhospitable, a quality that affects their visibility and popularity. While swamps and marshes serve humans, as well as the multitudes of other species they support, they are often the dumping ground for waste and at environmental risk. Questioning the role of human desire and pleasure seeking in forming ideas of nature, as well as directing larger ecological concern and attention; the exhibition accounts for the conflicting interests that drive understandings of natural environments. Greenfort’s exhibition looks at the inherent contradictions following perceptions that some types of “nature” are more significant than others.

In addition to an installation created by Greenfort, the exhibition includes materials related to the artist’s research on Jamaica Bay, and wetlands in general. These resources will be available to visitors throughout the exhibition duration. On Saturday November 16th from 11am – 2pm, SculptureCenter will host a seminar with speakers addressing the subjects raised by the exhibition.

Tue Greenfort interweaves the ideas of public and private and nature and culture with the language of contemporary art to formulate a critique of current economical and scientific production practices. Fascinated by the dynamics in the natural world, Greenfort's work often revolves around ecology and itshistory, including the environment, social relations, and human subjectivity.

Tue Greenfort was born in 1973 in Holbaek, Denmark and lives and works in Berlin where he is represented by Johann König. As a participant in dOCUMENTA(13) in Kassel, Greenfort was co-curator of an archive on multi-species co-evolution, The Worldly House. He has had extensive solo presentations at Berlinische Galerie (2012), South London Gallery (2011), Kunstverein Braunschweig (2008) and Secession, Vienna (2007). Greenfort has participated in numerous international exhibitions at institutions including Kunstverein Hannover (2011), Royal Academy of Arts, London (2009), Bonniers Konsthall, Stockholm (2009), the Fondazione Morra Greco, Naples (2008), Skulptur Projekte Münster (2007) and Witte de With, Rotterdam (2006). His publications include Photosynthesis, Sternberg Press, 2006, and Linear Deflection, Walter König, 2009.

Tue Greenfort: Garbage Bay is organized by Ruba Katrib, SculptureCenter Curator.

SculptureCenter’s major exhibition and operating support is generously provided by grants from the National Endowment for the Arts; the New York City Department of Cultural Affairs; New York State Council on the Arts; Lily Auchincloss Foundation, Inc; Bloomberg Philanthropies; the Kraus Family Foundation; the Lambent Foundation fund of the Tides Foundation; the Joan Mitchell Foundation; the New York Community Trust; the Pollock-Krasner Foundation; the Andy Warhol Foundation for the Visual Arts; the A. Woodner Fund; and contributions from our Board of Trustees. Additional funding provided by the Milton and Sally Avery Arts Foundation; Goldman Sachs; A G Foundation; the Ken and Judith Joy Family Foundation; the Peter Jay Sharp Foundation; and contributions from many generous individuals. This project is part of Marfa Dialogues NY and is supported by the Robert Rauschenberg Foundation.

The exhibition is sponsored by the Danish Arts Council Committee for International Visual Arts.

Also on view: Agnieszka Kurant: 103.1 (Phantom Estates) and Now Showing: Sam Anderson.

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Now Showing: Sam Anderson

Long Island City, NY - SculptureCenter is pleased to announce Now Showing: Sam Anderson. Now Showing is a new program, highlighting a single artwork or project in areas throughout SculptureCenter's building. Working with artists to find new ways of approaching the unique architecture of SculptureCenter, Now Showing is an exploratory and flexible mode for presenting artworks and projects to our audiences.

For this first iteration, New York based artist, Sam Anderson will present a new sculptural work within a space newly created by the current renovation of the SculptureCenter building. Within this intimate space, she will work responsively to the site and context of the project by incorporating ideas and images around general notions of inauguration and public celebration.

Working primarily sculpture, as well as film, Anderson creates small-scale works that often resemble models or prototypes. Through her careful adjustments of scale and placement of objects—her works evoke mise-en-scenes—although she eludes clear narratives. Balancing between the humorous and the unsettling, Anderson’s works conjure low-fi films or theatrical sets, where the materials employed can impact the intended genre or reception. Anderson’s sculptures are prompts for the spatial construction of narratives, pointing to disciplines, such as film and literature.

Sam Anderson lives and works in New York, NY. Select group exhibitions include First Among Equals, Institute of Contemporary Art, Philadelphia, PA (2012); Chat D’Oeuvres Part 2 (2011) and Chat D’Oeuvres (2010), Anthology Film Archives, New York, NY; and Poetry Club, curated by Fia Backstrom, White Columns, New York, NY (2008).

SculptureCenter’s major exhibition and operating support is generously provided by grants from the National Endowment for the Arts; the New York City Department of Cultural Affairs; New York State Council on the Arts; Lily Auchincloss Foundation, Inc; Bloomberg Philanthropies; the Kraus Family Foundation; the Lambent Foundation fund of the Tides Foundation; the Joan Mitchell Foundation; the New York Community Trust; the Pollock-Krasner Foundation; the Andy Warhol Foundation for the Visual Arts; the A. Woodner Fund; and contributions from our Board of Trustees. Additional funding provided by the Milton and Sally Avery Arts Foundation; Goldman Sachs; A G Foundation; the Ken and Judith Joy Family Foundation; the Peter Jay Sharp Foundation; and contributions from many generous individuals.

About SculptureCenter
Founded by artists in 1928, SculptureCenter is a not-for-profit arts institution in Long Island City, NY dedicated to experimental and innovative developments in contemporary sculpture. SculptureCenter commissions new works and presents exhibitions by emerging and established, national and international artists. Our programs identify new talent, explore the conceptual, aesthetic and material concerns of contemporary sculpture, and encourage independent vision.

Image: Agnieszka Kurant, Map of Phantom Islands, 2013. Photo: Eduardo Ortega, Courtesy Galeria Fortes Vilaça, Sao Paulo

Media Contact:
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Opening Reception: Saturday, November 9, 2013 - 5-7pm

SculptureCenter
44-19 Purves Street - Long Island City, New York
Gallery Hours:
Thursday – Monday, 11am-6pm
Admission:
$5 suggested donation

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