Three exhibitions
dal 12/3/2014 al 9/5/2014
Segnalato da
12/3/2014
Three exhibitions
AC Institute, New York
Three exhibitions from March 13th to May 10th at the AC Institute. On show Vanessa Enriquez and Ilya Noe, Peter Dykhuis and Gema Alava with three different exhibitions that will fill up the Gallery's Spaces.
Vanessa Enríquez and Ilya Noé: Zirkel (1+2)
March 13 – May 10, 2014
Opening Event: Thursday, March 13, 6-8pm
Inspired by the notion of the human body as drawing tool – and
more specifically, as compass – Zirkel (which means compass in
German) is an ongoing and open-ended collaborative project by
Mexican artists Vanessa Enríquez and Ilya Noé.
The artists experiment with sequences of circular bodily movements
using chalk on blackboards. The possibility to erase their gestural
inscriptions allows them to investigate freely and learn from the
process through a continuous response to each other and the
material, resulting in a graphical grammar of motion and notation
that continues to be developed, re-calibrated and adapted as new
types of movements are introduced into their shared drawing
practice.
Through the methodical exploration of angles, rotations, extents and
limitations of different joints, and the repetition of specific gestures
and sequences, the artists are able to trace and overlay their
particularities and differences, as well as locate and measure the
subtle variations of their movements and positions across time. In
other words, the artists become compasses, and their resulting
drawings, videos, photographs, notations and working notes become
diagnostic maps.
In the context of their exhibition at the AC Institute, Zirkel (1+2) will
present a selection from their first two series of experiments.
-----
Peter
Dykhuis:
Peripheral
Traces
(Dark
Heart)
March
13
–
May
10,
2014
Opening
Event:
Thursday,
March
13,
6-‐8pm
The
work
in
Peripheral
Traces
(Dark
Heart)
began
as
collaged
layers
of
paper-‐based
ephemera
-‐-‐
such
as
personal
lists,
envelopes,
receipts,
cards
and
notes
-‐-‐
that
were
organized
into
three
categories
according
to
their
social
and
economic
locations
within
the
artist’s
life.
The
paper
fields
were
then
mounted
onto
clipboards
and
overlaid
with
squares
of
encaustic
wax
paint
or
the
following
image-‐patterns:
-‐
weather-‐based
graphics
on
the
Home
Front
series;
-‐
economic
charts
and
symbols
on
the
Work
Force
series;
-‐
gaming/board
graphics
on
the
Art
World
series.
The
resulting
visual
phrases
document
the
material
traces
of
a
common
life
overwritten
with
emblematic
references
to
larger
environmental,
economic
and
social/cultural
forces.
-----
Gema Álava: Tell Me and Silences
March 13 – May 10, 2014
Opening Event: Thursday, March 13, 6-8pm
"In a world in which social and ethical considerations
seem to be losing their force, Álava presents us with
situations that linger in our minds as ethical
conundrums."
-Jonathan Goodman, 2010
Álava's projects in the form of dialogues, verbal
descriptions, rumors or random encounters,
explore notions of trust and intimacy, and use
language as a medium to investigate the
interconnections that exist between public,
private, educational and interpretative aspects of
art. Her work explores the capacity that certain
materials have to create a maximum by reversing
a minimum. "I am intrigued by how we react to
Tell Me 2004 – 2014, Detail. the kinds of situations where we are faced with
something that looks like it is about to fall. Do we just let it go and rebuild a new structure, or do we try to
balance what is mostly gone?"
Alava's interactive installation Tell Me 2004-2014, made out of thousands of handwritten pieces of paper
pinned to the wall and sensitive to the slightest air current, contains thousands of fragmented conversations
maintained for the last decade between Álava and the public in the privacy of NYC art museums, where Álava
has worked for twelve years as a lecturer/museum educator, leading more than two thousand gallery talks,
and inviting friends to think of different ways to interact inside these communal spaces. "I am an artist
intrigued by the way the general public interacts and communicates inside museums. To me, museums are
ideal ecosystems and stages where differences can be discussed through dialogue, making it possible to
engage with the multiple thoughts that arise from these differences and increase our knowledge via
interconnected fields." (FonteraD, 2010)
Also exhibited are Álava's drawing series Silences 2004-2014, made underground on the subway in New
York with ballpoint pen during the commute between her studio and the museums, depicting dark rooms
seen through half closed/open doors.
Special Events:
Thursday April 3, 2014, 6pm
Art historian Stephanie Jeanjean will discuss her essay Nailing the Truth! Private and Public Politics of
Truth, which is included in Álava's art publication Tell Me the Truth 2008-2013. On this occasion, for the
first time, the notebook "Tell Me" from Álava's project will be shared with the public. This notebook,
made in the privacy of a NYC art museum on Tuesdays in 2008, includes drawings and handwritten texts
by twenty-two artists including Robert Ryman, Merrill Wagner, Arne Svenson and Angela Bulloch.
Thursday May 1, 2014, 7pm
Poet Luis H. Francia will recite his poem Listening to John Cage's 4'33'', and will discuss with curator
Midori Yamamura the sound composition The Oracle: Tell Me a Secret (2010) by composer Josué
Moreno and artist Gema Álava. In this composition, the sounds created by the audience as they interact
with Álava's installation, are included in the sound environment of the room through an amplifying
system and process.
These are private gatherings for the first fifteen people that RSVP, and will be recorded.
RSVP to info@artcurrents.org
-----
Opening Events: Thursday, March 13, 6-8pm
AC Institute
547 W. 27th St. #210 New York
Hours: Tues-Sat: 1-6pm, Thurs: 1-8pm
Admission free