James Lee Byars
Maria Magdalena Campos-Pons
Regina Jose' Galindo
Gino De Dominicis
In her works, Yael Bartana investigates society and politics. NeoHooDoo: Art for a Forgotten Faith is an exhibition that brings together a group of artists who address the value of ritual in the artistic process and the implications of spirituality in contemporary art. Swimming Pool is a visually confounding installation by the Argentine artist Leandro Erlich. International and National Projects Fall 2008 presents the work of Robert Boyd, Ana Horvat, Minus Space, and Patrick O'Hare. Gino De Dominici's show focuses primarily on the paintings he made in the 1980s and '90s, as he considered this art form the pinnacle of visual expression. Borre Saethre's work alters the immediate surrounding architecture while guiding visitors through fairy-tale imagery and seamless futuristic design.
On view October 19, 2008 - January 19, 2009
P.S.1 Contemporary Art Center presents the work of Yael Bartana, whose work investigates society and politics. Over the last several years, she has become known for her complex visualizations in the forms of photography, film, video, and sound works and installations. Whereas largely known in Europe, her work has not been as present in the U.S. until now. On view in the First Floor Drawing and Painting Galleries from October 19, 2008 until January 26, 2009, this is Bartana’s first solo exhibition at a New York institution.
The exhibition is comprised of five works, including Trembling Time (2001), Kings of the Hill (2003), Low Relief II (2004), Wild Seeds (2005), and Summer Camp (2007), which provide an introduction to the past seven years of Bartana’s artistic practice. Her work creates a revealing ambivalence between playfulness and serious topics, time looped and halted, material from documentation and re-enactments.
Yael Bartana (b. 1970, Afula, Israel) lives and works in Amsterdam and Tel Aviv. She has had numerous solo exhibitions including: Foksal Gallery, Warsaw, Poland (2008); Center for Contemporary Art, Tel Aviv, Israel (2008); The Power Plant, Toronto, Canada (2007); Kunstverein Hamburg, Hamburg, Germany (2006); Museum St. Gallen, St. Gallen, Switzerland (2005); Sommer Contemporary Art, Tel Aviv, Israel (2004); MIT List Visual Arts Center, Cambridge, Massachusetts, USA (2004).
She has also been included in may group exhibitions including: Henry Moore Institute, Leeds, United Kingdom (2008); Museo de Arte Contemporaneo de Castilla y Leon, Spain (2008); Documenta 12, Kassel, Germany (2007); Walker Art Center, Minneapolis, USA (2007); Centre Pompidou, Paris, France (2007); 27th Bienal de São Paulo, Brasil (2007); Tàpies Foundation, Barcelona, Spain (2006); 9th Istanbul Biennial, Istanbul, Turkey (2005).
Organized by Klaus Biesenbach, Chief Curator, Department of Media, The Museum of Modern Art and P.S.1 Chief Curatorial Advisor.
The exhibition is made possible by The International Council of The Museum of Modern Art.
Additional funding is provided by artis, The Consulate General of the Netherlands in New York, and Office of Cultural Affairs, Consulate General of Israel.
The accompanying publication is made possible by artis.
NeoHooDoo: Art for a Forgotten Faith
On view October 19, 2008 - January 26, 2009
P.S.1 Contemporary Art Center presents NeoHooDoo: Art for a Forgotten Faith, an exhibition co-organized by The Menil Collection that brings together a multigenerational group of North, South, and Central American artists who address the value of ritual in the artistic process and the wider implications of spirituality in contemporary art. On view in the 2nd Floor Main Gallery, Project Rooms, and Corner Gallery.
Including some 50 works of sculpture, photography, assemblage, video, performance, and other media, NeoHooDoo asserts that the drive towards a spiritual practice is as relevant today in our burgeoning global society as it has ever been. Artists have long engaged with ritualism to enrich their work, drawing on the traditions of shamans, griots, and oral historians. NeoHooDoo “grew out of a desire to explore the multiple meanings of spirituality in contemporary art,” states P.S.1 Curatorial Advisor and Menil Curator of Modern and Contemporary Art Franklin Sirmans.
In the late 1960s poet Ishmael Reed adopted the 19th-century term “HooDoo,” referring to forms of religion and their practice in the New World to explore the idea of spiritual practice outside easily definable faiths or creeds and ritualism on contemporary works of literature and art. “Neo-HooDoo,” he writes in his 1972 collection of poetry, Conjure, “believes that every man is an artist and every artist a priest.” His seminal poems, “The Neo-HooDoo Manifesto” and “The Neo-HooDoo Aesthetic,” delve even deeper into this artistic practice to demonstrate its vitality as an international, multicultural aesthetic that embraces spiritual creativity and innovation.
From Vancouver to Havana, Guatemala City, and Bahia, the artists in NeoHooDoo began using ritualistic practice as a means to recover “lost” spirituality and to reexamine and reinterpret aspects of cultural heritage throughout the late 1970s and early 1980s. Visual artists from across the Americas, such as Jean-Michel Basquiat (1960–1988), José Bedia (b. 1959), Rebecca Belmore (b. 1960), Jimmie Durham (b. 1940), and Ana Mendieta (1948–1985) have freely combined disparate materials and mediums to create spaces where art and audience can interact unhindered by history or societal constraints. For these artists, ritual practice often emerges as a form of catharsis and political critique to approach issues such as race, gender, slavery, and colonization. This exhibition also will look at younger artists such as video artists Michael Joo and Regina José Galindo, who carry on many of these practices and themes decades later, reconfiguring the work of their predecessors into performative displays of ritual through film and gallery installations.
Challenging conceptions of “insider” and “outsider” art, the artists in the exhibition frequently create work using everyday objects that resonate both within the confines of a gallery or museum and among their own localized audiences who may or may not visit art institutions. Situating their work in a vernacular aesthetic, the meaning of the work fluctuates according to its context. Items such as light bulbs, wine bottles, artificial flowers, piano keys are repositioned in assemblages confronting themes of exploitation, genocide, and poverty. The 53 pieces of discarded waste paper comprising Jimmy Durham’s A Street-level Treatise on Money and Work are brought to the center of a dialogue on the destruction of native cultures and Dario Robleto addresses American notions of manifest destiny in Deep Down I Don’t Believe in Hymns by taking a military-issued blanket and “infesting” it with hand-ground dust made from vinyl recordings of Neil Young’s “Cortez the Killer” and Soft Cell’s “Tainted Love.”
Franklin Sirmans developed NeoHooDoo as one of P.S.1’s curatorial advisory programs, a unique system that allows diverse curators to present experimental exhibition work. Current curatorial advisors include Chief Curatorial Advisor Klaus Biesenbach, Senior Curatorial Advisor Neville Wakefield, Andrea Bellini, Phong Bui, Lia Gangitano, Susanne Pfeffer, and Franklin Sirmans.
NeoHooDoo: Art for a Forgotten Faith will be accompanied by a fully illustrated catalogue featuring texts by Arthur C. Danto, Greg Tate, Robert Farris Thompson, Jen Budney and Julia Herzberg. The catalogue will also include an interview with Ishmael Reed by Franklin Sirmans and a work by renowned poet Quincy Troupe. The fully illustrated, color catalogue will be available for purchase at Artbook @ P.S.1 (144 pp., $45.00).
Terry Adkins, Janine Antoni, Radcliffe Bailey, José Bedia, Rebecca Belmore, Sanford Biggers, Tania Bruguera, James Lee Byars, María Magdalena Campos-Pons, William Cordova, Jimmie Durham, Regina José Galindo, Felix Gonzalez-Torres, David Hammons, Michael Joo, Brian Jungen, Kcho, Marepe, Ana Mendieta, Amalia Mesa-Bains, Pepón Osorio, Adrian Piper, Ernesto Pujol, Dario Robleto, Betye Saar, Gary Simmons, George Smith, Michael Tracy, Nari Ward
The exhibition is co-organized by The Menil Collection, Houston, Texas, and P.S.1 Contemporary Art Center. It was previously presented at The Menil Collection and will travel to the Miami Art Museum from February 20 until May 24, 2009.
The exhibition is made possible by The Friends of Education of The Museum of Modern Art and with public funds from the New York State Council on the Arts, a State Agency.
The accompanying publication is made possible by the Andy Warhol Foundation for the Visual Arts.
The presentation at The Menil Collection was generously supported by The Brown Foundation, Inc., Houston, Anonymous, William J. Hill, Beth and Rick Schnieders, Sara Dodd Spickelmier and Keith Spickelmier, Barbara and Charles Wright, Michael Zilkha, The Cullen Foundation, Houston Endowment, and the City of Houston.
Leandro Erlich: Swimming Pool
On view October 19, 2008 - April 13, 2009
P.S.1 Contemporary Art Center presents Leandro Erlich: Swimming Pool, an extraordinary and visually confounding installation by the Argentine artist Leandro Erlich. Leandro Erlich: Swimming Pool will be on view in P.S.1’s unique, double-height Duplex gallery from October 19, 2008 through April 13, 2009.
Leandro Erlich is known for installations that seem to defy the basic laws of physics and befuddle the viewer, who is introduced into jarring environments that momentarily threaten a sense of balance or space. For this exhibition, Erlich presents one of his most well-known and critically acclaimed pieces, Swimming Pool. Speaking about the project, Erlich says: “When I first visited P.S.1, I remember thinking how perfect the Duplex space would be for the installation of Swimming Pool. This space divided the experience of seeing the work perfectly, and in the correct order. Almost ten years since its creation, Swimming Pool is finally in the exhibition space for which I have always felt is so perfectly suited.”
Erlich has constructed a full-size pool, complete with all its trappings, including a deck and a ladder. When approached from the first floor, visitors are confronted with a surreal scene: people, fully clothed, can be seen standing, walking, and breathing beneath the surface of the water. It is only when visitors enter the Duplex gallery from the basement that they recognize that the pool is empty, its construction a visual trick fashioned by the artist. A large, continuous piece of acrylic spans the pool and suspends water above it, creating the illusion of a standard swimming pool that is both disorienting and humorous.
Leandro Erlich (b. 1973, Buenos Aires) has been exhibiting his work internationally for over ten years. He has had solo shows at the Centre d’Art Santa Mònica, Barcelona (2003); MACRO Museo d’Arte Contemporanea Roma (2006), and Le Grand Café, Centre d’Art Contemporain de Saint-Nazaire (2005). He represented Argentina at the 49th Venice Biennale (2001), where he showed Swimming Pool, and was also featured in the Singapore Biennale (2008), the Liverpool Biennial (2008), 7th Havana Biennale (2001), the 7th Istanbul Biennial (2001), the 3rd Shanghai Biennale (2002), the 1st Busan Biennale (2002), and the 26th Bienal de São Paulo (2004). His work will be shown in the upcoming Prospect.1 New Orleans Biennial in 2008. He lives and works in Buenos Aires.
Organized by P.S.1 Director Alanna Heiss.
The exhibition is made possible by Estrellita B. Brodsky and Patricia Phelps de Cisneros.
International and National Projects Fall 2008: Robert Boyd, Ana Horvat, Minus Space, and Patrick O'Hare
On view October 19, 2008 - January 26, 2009
P.S.1 Contemporary Art Center presents the work of three artists and a collective as part of the Fall 2008 cycle of the International and National Projects program. Featuring new and recent works by a diverse group of artists, these solo exhibitions showcase a range of media including film, photography, sculpture, paintings and installation. The International and National Projects will be on view from October 19, 2008 through January 26, 2009.
P.S.1 has invited Minus Space, a collective based in Brooklyn, New York, to present an exhibition of "reductive art": art characterized by minimalism and abstraction in its use of monochromatic color, geometry, and pattern. As a movement concentrating on abstraction, Minus Space bucks the trend toward figuration that took hold in the 1990s. For P.S.1, Minus Space has brought together 54 artists working internationally, ranging from Australia to Brazil to New York City, for a dense and playful show in the Café and Basement Boiler Room, two of the museum's most unique and intriguing exhibition spaces.
Artists include Soledad Arias, Shinsuke Aso, Marcus Bering, Hartmut Böhm, Richard Bottwin, Sharon Brant, Michael Brennan, Henry Brown, Vicente Butron, Bibi Calderaro, Melanie Crader, Mark Dagley, Julian Dashper, Christopher Dean, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Simon Ingram, Inverted Topology, Kyle Jenkins, Mick Johnson, Steve Karlik, Sarah Keighery, Andrew Leslie, Daniel Levine, Sylvan Lionni, Lotte Lyon, Gerhard Mantz, Rossana Martinez, Juan Matos Capote, Douglas Melini, Manfred Mohr, Salvatore Panatteri, Dirk Rathke, Karen Schifano, Analia Segal, Edward Shalala, Tilman, Li-Trincere, Jan van der Ploeg, Don Voisine, Douglas Witmer, and Michael Zahn.
Organized by P.S.1 Curatorial Advisor Phong Bui
Robert Boyd presents Conspiracy Theory, the first part of his forthcoming project TOMORROW PEOPLE. A synchronized two-channel video installation, Conspiracy Theory addresses issues of social paranoia and civil distrust in an era of questionable politics. The video covers topics from government involvement in the September 11 attacks to government cover-up of aliens at Area 5l, world domination by the "high priests of globalization" known as the Bilderberg, human invention of the HIV/AIDS virus, and the bizarre "reptilian agenda" that reveals reptilians as rulers of humanity. Incorporating audio and video excerpts from syndicated radio talk show hosts, international conspiracists, amateur documentary filmmakers, and the mysterious Commander X, Conspiracy Theory addresses some of today's leading conspiracies relayed by their most evocative proponents. Set to a fast-paced dance track, the work functions as both a critique and parody while raising the question-what if all is not as it seems?
Robert Boyd (b. 1969) is an interdisciplinary artist working in the areas of video, installation, photography and sculpture. His work has been widely exhibited at venues such as the Sundance Film Festival, Park City, Utah; The Indianapolis Museum of Contemporary Art, Indianapolis; 303 Gallery, New York; Wesleyan University, Middletown, Connecticut; Artsonje Center, Seoul; Context Galleries, Derry; The Hospital, London; PKM Gallery, Beijing; Kunst-Werke, Berlin; Palacio de Bellas Artes, Mexico City; Participant Inc, New York; Centre de Cultura Contemporània, Barcelona; White Box, New York; Galerie Chez Valentin, Paris; Smart Project Space, Amsterdam; The Islip Art Museum, Islip, New York; and Momenta Art, Brooklyn, New York. His work is included in numerous private and public collections including the Solomon R. Guggenheim Museum, New York.
Organized by P.S.1 Curatorial Advisor Lia Gangitano
New York based photographer Patrick O'Hare presents thirty intimate color prints in the third floor hallway. Working within the medium of photography, O'Hare documents the contrast between man-made environment and nature through landscape shots in which people have largely vanished. He searches in overlooked places like highway overpasses, construction sites, parking lots and trailer parks with the intent of creating order out of chaos and upheaval without losing subtlety and mystery. Influenced by the New Topographic photographers of the 1970s who cast a critical eye on suburban sprawl, landscape painting, and the novels of Don DeLillo, O'Hare finds the modern landscape as it is: shards of architecture in a state of entropic transition and decay.
Patrick O'Hare (b. 1958) has been exhibiting his photographs since 1987, when he was featured in the P.S.1 group show Portrait of Long Island City. O'Hare has participated in exhibitions in such galleries and institutions as Kirkland Art Center, Ronald Feldman Gallery, Parsons School of Design, Rotunda Gallery, Sideshow Gallery, and Black and White Gallery, all in New York. He has had solo exhibitions at The Camera Club of New York and O.K. Harris Works of Art, New York. His photographs are in the collections of the New York Public Library and the Samuel Dorsky Museum of Art, New Paltz, New York. O'Hare is based in New York.
Organized by P.S.1 Curatorial Advisor Phong Bui
Croatian artist Ana Horvat makes her U.S. debut in the 3rd floor Corner gallery with a 3-channel video installation entitled Before and after. In these video works the artist performs three different plastic surgery procedures - a nose correction, liposuction and breast enlargement - on rag dolls. Using these dolls instead of actual human bodies, Horvat compares aesthetic interventions with an innocent childhood game taken too far: adults unhappy with their appearance, a society obsessed with the ideal of beauty, and patients undergoing physical aggression and pain to achieve acceptance not only from others, but from themselves. Also presented in the gallery are jars with tissue samples and patient statements, all of which add to the subtle and ironic questioning of the modern phenomenon of plastic surgery.
Ana Horvat (b. 1977, Zagreb, Croatia) has had solo exhibitions in Karas Gallery, Zagreb (2005 and 2008); Vladimir Nazor Gallery, Zagreb (2004) and Studentski Centar Gallery, Zagreb (1999, 2004 and 2008). She has been included in group exhibitions including Youth Salon, Zagreb (1996, 2001, 2004 and 2006); the Zagreb Salon (1998) and the Croatian Sculpture Triennial, Zagreb (1997 and 2000). Horvat is a member of the Croatian Association of Visual Artists.
Organized by P.S.1 Director Alanna Heiss
Gino De Dominicis
On view October 19, 2008 - February 9, 2009
P.S.1 Contemporary Art Center is proud to announce the first major American museum exhibition of the Italian artist Gino De Dominicis, presented in P.S.1's first floor Main Gallery and basement Vault, with additional works concurrently on view in Here is Every. Four Decades of Contemporary Art in the Contemporary Galleries of The Museum of Modern Art.
An Italian artist who purposely shrouded himself in mystery and stood apart from popular artistic trends, De Dominicis exhibited very little in North America. He worked in a variety of mediums including sculpture, painting, film, and installation. This exhibition focuses primarily on the paintings the artist made in the 1980s and '90s, as he considered this art form the pinnacle of visual expression. Important historical works such as Palla, 1970, first exhibited at the Venice Biennale in 1972, will be included, as well as D'IO, 1971, an audio recording of the artist's laugh. The exhibition also features drawing, as well as sculptural works on wood, paper, and in a few cases, canvas.
De Dominicis' paintings are figurative and often produced using materials as basic as tempera and pencil on board. Concentrating on the human figure, De Dominicis often referenced mythical and epic leaders like Gilgamesh, the Sumerian king who sought immortality, and Urvashi, the Hindu Veda goddess of beauty. De Dominicis' paintings convey notions of immortality, beauty, and esotericism. A mysterious element pervades these works as the figures undergo various facial and bodily compressions: noses, eyes, mouths, and eyebrows are elongated and occasionally become fine fissures, while surreal imagery such as tiny fork-like hands and beak-like crania are paired with out-of-proportion arms, torsos, and legs. For Gino De Dominicis, painting performed a primary and extraordinary function, reaffirming the legacy of the artist as a powerful and creative force.
Gino De Dominicis (1947, Ancona, Italy - 1998, Rome, Italy) has had solo exhibitions at Galleria De Dominicis, Acona, Italy (1967); Palazzo Taverna, Rome, Italy (1972, 1977); Galleria Lia Rumma, Naples, Italy (1988); The Murray and Isabella Rayburn Foundation, New York, NY (1989); Centre National d'Art Contemporain, Grenoble, France (1990). He has also been featured in major exhibitions such as Documenta V, Kassel, Germany (1972); 40th Biennale di Venezia, Venice, Italy (1980); Centre Georges Pompidou, Paris, France (1981); 44th Biennale di Venezia, Venice, Italy (1990); 47th Biennale di Venezia, Venice, Italy (1997).
Alanna Heiss, P.S.1 Director
Andrea Bellini, P.S.1 Curatorial Advisor
Laura Cherubini, Professor at the Brera Academy of Milan and Curator
The exhibition is made possible by the Province of Ancona, Isabella del Frate Rayburn, and Maria Rosa and Gilberto Sandretto.
Additional funding is provided by The Italian Cultural Institute, The Contemporary Arts Council of The Museum of Modern Art, the Nancy Olnick and Giorgio Spanu Collection, New York, and Il Gattopardo.
On view October 19, 2008 - January 26, 2009
P.S.1 Contemporary Art Center presents Norwegian artist Børre Sæthre’s highly aestheticized immersive environment which unfolds throughout the third floor Archive Galleries.
Sæthre’s work engages and alters the immediate surrounding architecture while guiding visitors through fairy-tale imagery and seamless futuristic design. Each room transports the viewer into otherworldly scenarios in which Sæthre’s use of materials divorced from their previous contexts, such as acoustic tiles, and LED lights, function as compositional elements within this totalizing installation. Furtive display devices create glimpses into idiosyncratic worlds inhabited by poised animals, oddly disjoined from the overall décor to create awkward sites for voyeuristic activity. Anachronistically frozen in space, his mythological taxidermy hybrids insinuate elements of surrealism, drawing from an ancient register that collides with futuristic settings. Enigmatic outlines are drawn by the structures of Sæthre’s environments (sculptural and reconstructed interiors, light, and soundscapes), but films and photographic tableaux tend to interject more personal narratives. These are often made optional through various cloaking devices, such as semi-transparent glass panels, long corridors, windows that one may uncomfortably peek through, insinuating the complicity of the viewer.
Viewers will encounter unlikely temporal juxtapositions, as futurisms of the past collide with Surrealistic images drawn from a mythological register.
Børre Sæthre lives and works in Oslo and New York. He has had solo exhibitions including From Someone Who Nearly Died But Survived, Bergen Kunsthall, Bergen, Norway (2007); I’ve Been Guilty of Hanging Around, Participant Inc, NY (2006); Powered by Zero, Galerie Loevenbruck, Paris (2005); and Module for Mood, Thread Waxing Space, New York, NY (2000). His work has been included in group shows including Nordic, Museum Küppersmühle/Sammlung Hans Grothe, Duisburg, Düsseldorf, Germany (2004); Todos somos pecadores (We are all sinners), Museo Rufino Tamayo, Mexico City, Mexico (2002); He is currently a resident at Cité Internationale des Arts, Paris.
Børre Sæthre is organized by P.S.1 Curatorial Advisor Lia Gangitano.
The exhibition is made possible by The Office for Contemporary Art Norway. Additional funding is provided by Arts Council Norway.
Image: Yael Bartana
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