calendario eventi  :: 

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9/3/2006

Cannibalize

Ryder truck, New York

Rider Project 2006

Tracy Gilman, Adam Lister, Asya Geisberg, Christina Gunderson, Elizabeth Riley, Stephanie Rivers, Jonell Jaime, Veronica Jay Clay, J Gabriel Lloyd, Athena Waligore, Didi Dunphy, ONE MAN, Paul Amitai, and Michele Gambetta (founder)

RIDER Project 2006 presents CANNIBALIZE, a non-thematic group exhibition located in a Ryder truck. CANNIBALIZE probes the predatory insatiable appetites of contemporary art culture, by aggressively usurping and absorbing vital systems and assets. CANNIBALIZE, with 18 emerging artists working in photography, painting, sculpture, and performance, offers up fresh blood.

CANNIBALIZE: PARTICIPATING ARTISTS

Athena Waligore “I am photographing dioramas of taxidermied birds and fabricated plants at New York City’s American Museum of Natural History because I am entranced by their gorgeous animals and well painted backgrounds, while disturbed by the evident biases of the diorama makers. I hope to show the beauty within the dioramas and make it harder to discern what is natural. I photograph one group of dioramas at a time; these photographs are taken from the Hall of North American Birds. My working process involves returning to the same dioramas over many months to capture the desired photograph of each animal. Through this work, I have learned to identify animals and their habitats, but remain deeply troubled by our society’s relationship to animals and plants."

Stephanie Rivers “My paintings are loosely based on the relationships between past and present using figurative and abstract elements. I embrace the area where the subject is formed and formless, and the distinction between the human figure, stylized imagery, nature, and landscape breakdown and unravel. Clothing transfuses to become part of the atmosphere, and portraits signify a specific moment of feeling and attitude. Recently I have been making long and narrow paintings where a certain portion of a subject is painted, in response to the experience of seeing only a glimpse into a situation."

Elizabeth Riley is an artist who does sculpture and installation, and who is a city dweller. Her sculpture and installation has its sources in both personal meaning, and public contexts incorporating a relationship to the body, personal and transpersonal archetypes, architectural space, and issues of identity, perception and meaning. This work is most usually made for specific situations, as on residencies, or for upcoming shows. The materials used are commercially available or found, such as wood, plexiglas, and everyday items. My aim, when possible, is to include others in the outcome or process, reducing the boundary between art (and artist) and viewer (participant). My paradigm as an artist is that of the city dweller.

ONE MAN is the name of this group work, created by Jason Eisner, Richard Zimmerman, Stu Worobetz, Cassie Thornton in 2006. Constructing narratives highlighting Super Heroes who attempt to exist in normal human space, and employing outsider fashion photography, ONE MAN weaves together the threads of humor and perversity into a cultural critique. When a hero leaves the comic book flat world and enters the world of the flesh, a translation occurs. The work of ONE MAN is engaged with recording the folly of Super Heroes as they break through the frames and off the pages into our world. ONE MAN follows the Heroes, exposing their loss of power and failure without taking essential power from them, bringing out their humble and at times even humiliating humanness. Simultaneously, the everyday flesh world transforms into an austere surreal backdrop for the fallen Heroes. ONE MAN's depiction of this juxtaposition lends itself to a manic and feverishly dark new world that is both hilarious and disgusting.

First there was the car
Came evil architecture
One man threw up twice

J Gabriel Lloyd “Public" is the participation in a situation with unknown persons with the anticipation of exchange to occur. Situationist theory, psychogeography, cartography, social architecture and urban planning inform my creative process. My work, sculptural or performative, engages unknown people with moments for exchange. A stranger’s inhibitions about you, your work and the context of the surroundings can all be broken down with a simple conversation. Art is best understood through experience. Experience is exchange. Exchange is best experienced in public space.

Adam Lister “My sculptures tread a fine line at the edge of failure. By using magnetic tension, a balance is made between time and gravity, within a semi-contained structure. These works are made using magnets, wood, paint, and various other materials."

Jonell Jaime is a returning artist whose drawings examine the varied dynamics of familial and social relationships.

Christina Gundersen was born and raised in Connecticut. She graduated the School of Visual Arts in 2002 with a BFA. She now maintains a studio in New York. Her work can be seen at http://cgundersen.com

Tracy Gilman currently lives and works in Brooklyn, NY. Trying to keep up with the exhausting pace of life, her artwork is always evolving and changing in subject matter and media, interconnecting various facets within her and the outside world. Her current, “I can do anything better than you." installation, revisits her requirement of viewer participation by making viewers a part of the artwork, regardless of their awareness or willingness.

Asya Geisberg was born in St. Petersburg, Russia, and has lived in New York since 1997. She received a B.A. In literature and history from Wesleyan University, a diploma from the School of the Museum of Fine Arts, Boston, and an M.F.A. from School of Visual Arts. Asya works in painting, photography, drawing and collage, recently focusing on forming a hybrid creature that can inhabit all of these mediums. Her work often deals with themes of body image, ideals of physicality, and indulgence, as viewed through cultural norms

Michele Gambetta is a native New Yorker, and the founder of the RIDER Projects. Her exhibited sculpture “The Queen Venus was a Bombshell," references hand-grenades, beehives, and fertility, and was inspired by the RIDER Projects. On a perfect day, multiple, mobile art “cells" or mobile “hives" of artists would bring new ideas and feelings to unsuspecting neighborhoods, and “explode" outmoded ideas and pre-conceptions. Michele received her MFA from the School of Visual Arts, a Presidential Scholarship and BFA from the School of the Art Institute of Chicago, attended the College of the University of Chicago, and graduated from the Bronx High School of Science.

Veronica Jay Clay “Through drawings and performance-based interventions, I evaluate systems in the public arena: play, consumption, architecture, and migration. The work, participatory in nature, combines maintenance and DIY sensibilities that promote social & creative exchange. "Security Blankets/ Security Cloaks" explores how one finds protection and comfort in everyday life through imagination, self-sufficiency, dialogue, and community interaction." For more information, visit www.veronicajayclay.com.

Didi Dunphy is interested in the intersection of art, performance and design - fabricating objects that facilitate an interactive cooperative play. Her work explores the nature of Recess while challenging the tradition of arts institution by encouraging viewers to “play" with sculpture. She has designed the “See Saw", the “Swing" and the “Inside Skateboards" as sculpture for play and interaction with the hopes that through this Recess or play activity, cooperation, collaboration and good ideas are born between people. // As discreet objects, the Recess sculpture operates independently of the arts institution yet refers Mr.Barnett Newman statement “Sculpture is something you bump in to when backing up to look at a painting." Hers are friendly monuments, soft to touch, wipe-able if smudged, and awaiting someone to back into, and witty, embracing and inviting. // Bruce Nauman has suggested a desire to transform the Museum viewer into the object to be looked at, as the sculptural object becomes the set or stage for the viewers’ action. As, in my pieces, by inviting a physical interaction, play time, I am transforming viewers into “performers", the “see-sawers", “swingers", and “skateboarders". These works and performances do relate to a discourse of public sculpture in that unlike Nauman’s self-reflective concept, the participation with the public operated democratically. Each performer/viewer has equal say in the process of fun and the outcome of the play.

Paul Amitai is a Brooklyn-based artist who utilizes techniques native to documentary filmmaking and DJ mixing to examine collective memory and vicarious experience. His work critiques the construction of culture, as it is mediated by codified representations found in commercial, educational, and entertainment space. Source material is collected through field recording and sampling, and is then edited, processed, and recontextualized in an installation or performance. Amitai’s installation projects have appeared in solo and group exhibitions in New York, Chicago, St. Louis, Minneapolis, Milwaukee, and Manchester, UK. He is also an active musician, performing electronic and improvised music in clubs and galleries around the U.S. To view projects: www.paul-amitai.com

CANNIBALIZE is the sixth show in the RIDER Project series. Previous RIDER Project exhibitions include: ch-ch-changes, 2003; CELL: a mobile exhibition, 2004; The Skin of Our Teeth, 2004, at MoCADA

CANNIBALIZE will exhibit in various locations throughout New York City:
March 10-13: outside Scope New York, 11th Avenue and 46th Street, 11 a.m.-8 p.m.
March 14: N.Y.C. Financial District, 8 a.m.- 4 p.m.
Harlem’s ‘Empowerment Zone’, 125th Street, 7 p.m.-10 p.m.
March 15: vicinity of the Whitney Museum, 945 Madison Avenue, 11 a.

ABOUT THE RIDER PROJECT
The RIDER Project is a mobile art gallery exploring the potential of art to create social change. The Project is staffed and funded by the participating artists, who act as an ever-evolving collaborative, recombining into a different form with each exhibition. In a pro-active D.I.Y. fashion, the group of artists stimulates cultural dialogue with viewers. Each location of the truck creates a unique interactive hub of activity.

Based on the social sculpture ideas of Joseph Beuys, the RIDER Project also feeds on the metaphor of mobile art functioning as red blood cells traveling through the social body. The RIDER Project delivers art to New York City neighborhoods through a dynamic akin to blood flowing through an organism. As blood provides oxygen and essential

Press contact Michele Gambetta at (646) 245-9801

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