ArtSlant - Recently added en-us 40 Lies Kraal - Susanne Vielmetter Los Angeles Projects - June 4th - July 9th <p style="text-align: justify;">Susanne&nbsp;Vielmetter&nbsp;Los Angeles Projects is pleased to announce the gallery&rsquo;s second solo exhibition with Dutch-born Los Angeles-based painter, Lies Kraal, in Gallery 4.<br style="color: #494848; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff;" />&nbsp;<br style="color: #494848; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff;" />Kraal is known for her modestly scaled and intently worked monochrome paintings, which often feature smooth horizontal and vertical ridges. These ridges are sometimes dramatically visible: casting shadows in the right light and from certain angles. At other times, from a different perspective, they dissolve into the picture plane without a trace. In this exhibition, Kraal presents a series of eight 15&rdquo; x 30&rdquo; diptychs completed over the last two years. This body of work is inspired by the artist&rsquo;s recent travels, adding an abstract referentiality to her usually objective approach.<br style="color: #494848; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff;" />&nbsp;<br style="color: #494848; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff;" />Surface texture is an important aspect of Kraal&rsquo;s painting; one she employs to encourage slow looking. In these paintings she draws the viewer in with the contrast between the soft-focus of a matte surface and the sharpness of gloss; the balanced relationship between cerulean blue and a creamy tangerine; the subtle speckles in a velvety plane of cool dirt brown. Sometimes, as in an icy white diptych, the obvious differences between matte and gloss disappear. Instead you might notice a blue glow, perhaps produced by your own retina, which appears slightly more pronounced in the painting on the right-hand side.<br style="color: #494848; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff;" />&nbsp;<br style="color: #494848; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff;" />These textures, colors and effects are very difficult to produce with acrylic paint. She often makes her own paint with powdered pigments collected on her travels in order to develop deeply saturated color. Each panel has been painted and sanded at least 100 times by hand so that even on the most uniform and plastic surfaces in Kraal&rsquo;s work, there is a sense of the organic. These areas of slight difference move and change as your body engages the work. Kraal often remarks that she would like the viewer to feel her paintings without touching them.<br style="color: #494848; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff;" />&nbsp;<br style="color: #494848; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff;" />Since 1989 Lies Kraal has shown her work both nationally and internationally, with solo exhibitions in Los Angeles, Santa Fe, Mexico City and Germany. She has been included in important group exhibitions in New York, Los Angeles and Rome. In 2015 she was one of only six artists chosen to represent the Panza Collection in a tribute to Dr. Panza in Rome. In 2003 she was a resident at the Chinati Foundation, Marfa, Texas; in 2005 a COLA Fellowship recipient, Los Angeles; in 2014 invited to the Parkfield Project, an artist retreat in California. Her work is included in the Panza Collection, Milan, Italy; the Jumex Colección, Mexico City; the Weisman Collection, Los Angeles, among others.</p> Sun, 29 May 2016 09:37:24 +0000 Andrea Bowers - Susanne Vielmetter Los Angeles Projects - June 4th - July 9th <p style="text-align: justify;">Susanne Vielmetter Los Angeles Projects is pleased to announce our fourth solo exhibition with Los Angeles artist Andrea Bowers, &ldquo;Triumph of Labor.&rdquo; This exhibition reflects the artist&rsquo;s continued interest in the labor movement. By highlighting different types of work &mdash; art, activism and service &mdash; the artist proposes an expansion of labor solidarity and political activism. A subtext of the show is the notion of radical patience; that there is more to a resistance effort than one lifetime and real change in our communities requires immediate urgency and ongoing endurance.</p> <p style="text-align: justify;">Over the last five years, Bowers has made a series of large drawings on found cardboard that appropriate political graphics spanning the late 19th century through the present depicting powerful women. The exhibition is named for a 22-foot long drawing on cardboard made after a Walter Crane illustration (c. 1891) that celebrates a May Day march of workers. Alongside the &ldquo;Triumph of Labor,&rdquo; Bowers will present a large installation of more than 100 photographs that she has taken at workers&rsquo; rights marches from 2008 to the present including May Day, The Fight For $15, My Walmart, and the SEUI (Service Employees International Union). The two works are a bridge that joins generations over 100 years apart who have committed to the vital work of fighting for a just society. Juxtaposed with Crane&rsquo;s Euro-ethnic illustration, Bowers&rsquo; archive represents a diverse labor movement that intersects with immigration justice, women&rsquo;s rights, health care, education, LGBTQ rights, and racial equality. The pairing of these two works investigates the role of art in documenting and reconsidering the historical record.</p> <p style="text-align: justify;">In Gallery 2 Bowers presents a series of her intimate photo-realistic pencil and colored-pencil drawings of activists, drawn from the same archive of photographs. The drawings, which are incredibly labor intensive, offer a pointed critique of the dominant depiction, in art and activism, of the single, heroic (often white, male,) individual affecting massive change with a single action. The tender attention and time that she dedicates to making these drawings foregrounds the significant work of the activists she depicts, who dedicate themselves to the daily work of overturning the status quo. She focuses her attention on individuals committed to routine group activity as an act of citizenry.</p> <p style="text-align: justify;">In Gallery 3 Bowers presents two sculptures that confront the current dilemma in higher education: the highest tuitions in history and the hiring of low-wage, part-time professors with no job security. A table sculpture presenting her work on the collective bargaining team negotiating Otis College of Art and Design&rsquo;s first union contract is exhibited with an illuminated sign made from found cardboard and LED lights that reads &ldquo;Education Should be Free.&rdquo; A part-time faculty member at Otis, Bowers has been an active member of the SEIU Local 721 collective bargaining team at the college for the last two years. This work has resulted in innumerable e-mails and reams of printed research. In the past Bowers has deployed tables in her work as a reference to the activist practice of tabling; in this project activism shifts to contract negotiations in the boardroom. More than just an accumulation of material, this installation makes manifest the invisible labor of collective bargaining and the bureaucratic processes that are required to establish more equitable labor practices.</p> <p style="text-align: justify;">Triumph of Labor&rdquo; continues Bowers&rsquo; work to find and present links in the historical record and her own work as an activist that reveal the key and valuable role that artists play in making political change. Ultimately this connection comes through the labor of art-making and activism themselves &ndash; the time spent in service to one project or another.</p> <p style="text-align: justify;">Bowers&rsquo; recent solo exhibitions include: In Situ 1- Andrea Bowers, Espace Culturel Louis Vuitton, Paris, 2014, #sweetjane, Pomona and Pitzer College Museum of Art, Claremont, 2014, Transformer (with Olga Koumoundouros), The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, 2013 and The Weight of Relevance, Wiener Secession, Vienna, traveled to The Power Plant, Toronto, 2007, and ZKM, Karlsruhe, 2008. Bowers&rsquo; work is held is the collections of The Hammer Museum of Art, Los Angeles, MoMA, New York, The Whitney Museum of American Art, New York, The Hirshhorn Museum and Sculpture Center, Washington DC, The Museum of Contemporary Art, Los Angeles, and Museum Abteiberg, Moenchengladbach, Germany, among others.</p> Sun, 29 May 2016 09:27:04 +0000 Knut Ivar Aaser, Ethan Cook, Mika Horibuchi, Erica Mahinay - Anat Ebgi - June 11th - July 16th Sun, 29 May 2016 07:30:05 +0000 Ed Moses, Andy Moses, Kelly Berg - Manhattan Beach Art Center - May 26th - July 2nd <p>Manhattan Beach, CA &ndash; Time 4 Art is thrilled to present &ldquo;Family Plot&rdquo;, a three artist exhibition highlighting new works by Los Angeles based artists:&nbsp;<strong>Ed Moses</strong>,&nbsp;<strong>Andy Moses</strong>, and<strong>Kelly Berg</strong>.<br /><br />The exhibition will celebrate three generations of painters that are all related. This exhibition will feature works ranging from the emerging to the established, from the representational to abstract, from flat to dimensional, and from black and white to explosions of color. All of this work also deals in gesture of mark making as well as pursuing organic processes and imagery that relates to the organic world.<br /><br />At the top of the Los Angeles art scene for the past 50 plus years gracing national and international private and museum collections, legendary&nbsp;<strong>Ed Moses</strong>&nbsp;is regarded by many as a cultural icon. He refers to himself as a painter rather than an artist. He repels adherence to any one movement, preferring instead a practice that is immersed in the moment. Such commitment has led to a uniquely varied body of work that is invigorated by restless re-invention and willingness to take risks.<em>&ldquo;I am not interested in expressing myself;&nbsp;<strong>Ed Moses</strong>&nbsp;says; I am interested in discovering things through meandering and chaos in the confusion of painting.&rdquo;<br /></em><br />Encompassing a futuristic amalgam of abstraction and landscape,&nbsp;<strong>Andy</strong>&nbsp;<strong>Moses</strong>&nbsp;continues to explore the natural world not to replicate imagery, but to mimic nature itself. The enigmatic pieces with manipulated surfaces and alchemical reactions evoke a sense of dynamic movement capturing the viewer with a sense of pulsation and tension of the mysteriousness and the unknown below the surface. He has developed his work over decades and it has ranged from being extremely monochromatic to working with paint and color in extremely complex and varied ways, with the notion of physically transmuting one type of material existence into another through keen and relentless observation and understanding.<br /><br /><strong><em>Andy Moses</em></strong><em>&nbsp;says: &ldquo;I have always been interested in fractal like patters that exist in nature, those that repeat on a wide range of scales though never precisely the same. These types of patterns simultaneously suggest both the interconnectedness and complexities of nature.&rdquo;<br /></em><br />Riding in the jagged edge between beauty and destruction,&nbsp;<strong>Kelly Berg</strong>&nbsp;creates textured gestural surfaces with accents of delicate line work through the use of acrylic paint, enamel inks, metal mesh, and plexiglass shards. The paintings invite the viewer in to explore chaotic abstract constructed reliefs and mysterious cataclysmic scenes in both faraway and familiar landscapes. Berg&rsquo;s lifelong obsession with nature began in her native state of Minnesota, and has continued to inform the works she creates in Los Angeles today.</p> <p><br /><em><strong>Kelly Berg</strong>&nbsp;says: &ldquo;I&rsquo;ve spent quite a bit of time out on the road. When you drive there is a unique combination of motion, sound, and imagery coming together forming an all-encompassing cinematic experience. Out of that momentum begins my explorations in the studio.&rdquo;</em></p> <p><br />Family Plot is an exploration into the unveiling of the latest works by three artists.</p> Sat, 28 May 2016 22:50:40 +0000 Group Show - Manhattan Beach Art Center - July 8th - July 13th <p>This art intensive is a collaboration between the Manhattan Beach Unified School District and Manhattan Beach Cultural Arts division to present the most gifted and dedicated high school students with an opportunity to fully delve into visual arts. Students have taken months to explore, experiment and create stellar artwork and showcase it during this exhibition.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Sat, 28 May 2016 22:44:53 +0000 Susan Silas - CB1 Gallery - June 4th - July 17th <p>CB1 Gallery is pleased to announce our third solo exhibition with New York artist&nbsp;<strong>Susan Silas</strong>. In this exhibition, titled&nbsp;<a href="" rel="nofollow" target="_blank"><strong><em>the self-portrait sessions</em></strong></a>, Ms. Silas will present photographs, bronze and beeswax sculptures and a video work. The exhibition will open on June, 4th, 2016 from 3 p.m. to 6 p.m. and runs through July 16th, 2016.</p> <p>The works in&nbsp;<em>the self-portrait sessions</em>&nbsp;began as an exploration of privacy and what Ms. Silas refers to as self-intimacy, meaning the way in which we are different alone with ourselves than we are with others. At a time when privacy is disappearing and we are under constant surveillance both in the public realm and in our homes and on our computers, our notion of what privacy means is undergoing serious questioning and change. In these images, the artist places herself in front of a large mirror, and returns her own gaze. The reference to Lacan&rsquo;s mirror stage is obvious and yet the degree to which our self is constituted through our own self-reflexive gaze vs. the gaze that is cast on us by the outside world is deeply intermeshed and impossible to tease apart. At the same time, body integrity and the boundary between inside and outside seem pretty basic. But as we submit to myriad platforms in which we voluntarily hand over information about ourselves or simply photograph ourselves and share these images ad infinitum, the assumption that privacy is sacrosanct and that interiority is both vital and indispensable no longer seem to be universally shared values. Hence the notion that artificial intelligence can replace man, and may in fact. In Silas&rsquo;s photographs there are multiple reflections but the mirror has disappeared from view, creating a liminal space or ambiguity, about which space is &ldquo;real&rdquo; and which is a reflection. Over time, the images themselves suggested content to the artist that was not initially conscious; the examination of the aging female face and body.</p> <p>Self-portraiture was explored by the artist in the late 70s and a few of those images resurfaced when her family home was sold and one b &amp; w image from 1979 is included in the exhibition. Ms. Silas also began to cast her face in plaster in 1992. This project was picked up again in 2012 and the artist now casts her face yearly in the spring, keeping track of the changes in appearance from one year to the next. Five plasters have been cast in bronze and in beeswax for the exhibition ranging from the first cast made in 1992 up to the most recent in 2015. The casts show dramatic change, first in a twenty year leap, and then more subtle changes in yearly increments. By contrast, in a series of eight color photographs, the artist documents changes in expression taking place from moment to moment. Ms. Silas was inspired by the life masks of President Abraham Lincoln on view at the National Portrait Gallery in Washington, the extraordinary beeswax busts from the late nineteenth and early twentieth century by the Italian artist Medardo Rosso and especially by the eighteenth century German sculptor Franz Xaver Messerschmidt, whose &ldquo;character heads&rdquo; evolved out of a ritual of making faces in front of the mirror.</p> <p>Ms. Silas&rsquo;s work has been featured in Anti-Utopias, Camera Austria, Fot&oacute;m&uacute;v&eacute;szet, Heist. Photography Collective, and Artnet magazine and reviewed in Hyperallergic, Artforum, Art in America, the Village Voice, and the New Yorker. Her occasional essays have been published in the New York Times, Theo Westenberger Estate, Exquisite Corpse, REEL 13, Frog, and Podium. She is a regular contributor to the online art magazine Hyperallergic and co-editor of the artblog MOMMY. Ms. Silas has been interviewed on the radio by MsRepresent: Behind the Face, a Fierce Woman, at Rabble magazine, Museum of Non Visible Art at Yale University Radio, ArtonAir. org., and the BBC. She has been awarded residential fellowships from The MacDowell Colony, The Corporation of Yaddo, VCCA, Ucross Foundation, New Space Arts Foundation in Vietnam and the National Parks Service at Everglades National Park. Ms. Silas received her BA in History at Reed College in Portland, Oregon and her MFA in Fine Art at California Institute of the Arts in Valencia, California.</p> <p></p> Sun, 29 May 2016 00:07:58 +0000 Annelie McKenzie - CB1 Gallery - June 4th - July 17th <p>CB1 Gallery is pleased to present our second solo exhibition of the work of LA-based artist&nbsp;<strong>Annelie McKenzie</strong>,&nbsp;<a href="" target="_blank" rel="nofollow"><strong><em>Man in Canoe and Grizzly</em></strong></a>. The title comes from a 1960 painting of the same name by Canadian landscape artist Gladys Johnson. The exhibition will be on view from June 4 through July 16, 2016. A reception for the artist will be held on Saturday, June 4, 2016.</p> <p>In the party game&nbsp;<em>Who&rsquo;s Coming to Dinner?</em>&nbsp;participants are asked to choose any number of dinner guests, famous or not, from any period in time, and imagine what the party would be like. Annelie McKenzie&rsquo;s exhibition is her personal variation of that game, except that she has imagined a museum exhibition, choosing artists&mdash;famous or not, from any period in time&ndash;and they become her &ldquo;Old Masters.&rdquo;</p> <p>McKenzie&rsquo;s practice is not to create exact replicas of their works but is more interested in creating cover songs or valentines: loose impersonations made in order to ponder, revel in, decorate, and pile onto the imagery of the originals. Artists referred to in this collection include the women of Beaver Hall (a Canadian painting collective from the 1930s), Rosalie Filleul, Gladys Johnston, and the artist&rsquo;s mother. The paintings in the exhibition are in playful dialogue with each other as they are mirrored, repeated, confirmed, and transformed.</p> <p>Born in Montreal, Canada, Annelie McKenzie graduated from the University of Calgary with a BFA and earned her MFA from California State University, Long Beach, in 2013. In addition to art, she has a music background and plays the piano, clarinet and drums and has an ongoing collaborative practice with artist Tina Linville. In addition to her CB1 Gallery exhibitions, she has exhibited at Mark Moore Gallery (CA), 18th Street Arts Center (CA), Contemporary Calgary (Canada), Wignall Museum (CA), Den Contemporary (CA), and other spaces throughout Southern California, Canada, and South Korea. She won the&nbsp;<em>Against the Grain</em>&nbsp;Award in 2012 and was recently named one of&nbsp;<em>Eight LA Artists You Should Know</em>&nbsp;in Fabrik Magazine #19.</p> <p></p> Sat, 28 May 2016 22:27:20 +0000 Keith Dugas, Little Friends of Printmaking, Tuesday Bassen - Daniel Rolnik Gallery - June 11th - June 11th <p class="p1"><strong>Epic Carnival at Daniel Rolnik Gallery</strong></p> <p class="p2"><a href=""></a></p> <p class="p1">DAY: June 11th</p> <p class="p1">TIME: Noon to Midnight</p> <p class="p1">PERFORMANCES by local bands and Comedians: 12pm - 9pm</p> <p class="p1">ADDRESS: 2675 S La Cienega Blvd, Los Angeles, CA 90034</p> <p class="p3">&nbsp;</p> <p class="p1"><strong>VENDOR LIST</strong></p> <p class="p1"><strong>(it keeps growing)</strong></p> <p class="p3">&nbsp;</p> <p class="p4"><strong>LOCAL ART MAGAZINES</strong></p> <p class="p4">amadeus Mag</p> <p class="p4">No Greater Good Mag</p> <p class="p4">The Gremlin Quarterly</p> <p class="p3">&nbsp;</p> <p class="p4"><strong>LOCAL SKATE SHOP</strong></p> <p class="p4">Courthouse</p> <p class="p3">&nbsp;</p> <p class="p4"><strong>LOCAL ARTISTS</strong></p> <p class="p4">Kat Philbin &amp; Big Tasty</p> <p class="p4">Tuesday Bassen</p> <p class="p4">JT Steiny &amp; John Charles Bricker (OTIS College art collective composed of JT's students)</p> <p class="p4">Mary Delioussina</p> <p class="p4">@AtticusLovesYou</p> <p class="p4">Tim McCormick</p> <p class="p3">&nbsp;</p> <p class="p4"><strong>LOCAL PRINTMAKERS</strong></p> <p class="p4">Little Friends of Printmaking</p> <p class="p3">&nbsp;</p> <p class="p4"><strong>PINS</strong></p> <p class="p4">TapCo</p> <p class="p4">World Famous Original</p> <p class="p4">Hannah Nance Partlow</p> <p class="p3">&nbsp;</p> <p class="p4"><strong>LOCAL SOFT GOODS</strong></p> <p class="p4">Steff Bomb</p> <p class="p4">Penny Sparkle Designs</p> <p class="p3">&nbsp;</p> <p class="p4"><strong>LOCAL GALLERIES</strong></p> <p class="p4">Flower Pepper Gallery (Pasadena, CA)</p> <p class="p4">Giant Robot (West LA)</p> <p class="p4">Co-Lab Gallery (Highland Park)</p> <p class="p3">&nbsp;</p> <p class="p4"><strong>LOCAL ANIMALS</strong></p> <p class="p4">Chamaco the Griffon</p> <p class="p3">&nbsp;</p> <p class="p4"><strong>LOCAL FOOD</strong></p> <p class="p4">East Los Musubi</p> <p class="p4">Waterfall Sorbet</p> <p class="p3">&nbsp;</p> <p class="p1"><strong>LOCAL BANDS - (SCHEDULE)</strong></p> <p class="p3">&nbsp;</p> <p class="p4">Victoria - 12:30pm - 1:00pm</p> <p class="p4">Kalisher - 1:15pm - 1:55pm</p> <p class="p4">Twentytwofourteen - 2:10pm - 2:50pm</p> <p class="p4">Brissey - 3:05pm - 3:50pm</p> <p class="p4">Cotton Ships - 4:05pm - 4:50pm</p> <p class="p4">Celebrity Crush - 5:05pm - 5:50pm&nbsp;</p> <p class="p4">hit me, Harold - 6:05pm - 6:50pm</p> <p class="p4">Paper Days (San Diego) - 7:05pm - 7:50pm</p> <p class="p4">Hollow Ran - 8:05pm - 8:50pm</p> <p class="p4">Pedestrian - 9:05pm - 9:50pm&nbsp;</p> <p class="p3">&nbsp;</p> <p class="p3">&nbsp;</p> <p class="p1"><strong>ART SHOW INSIDE DANIEL ROLNIK GALLERY</strong></p> <p class="p3">&nbsp;</p> <p class="p4">"KROSSD KOVERS" - a selection of rock n' roll inspired paintings and prints by Keith Dugas (@KROSSDart) including the artist's micro version of the ABC's (A is for Andy Warhol, Z is for Frank Zappa, etc...)</p> <p class="p3">&nbsp;</p> Sat, 28 May 2016 18:53:47 +0000 Claire Tolan - Various Small Fires - June 4th - July 9th <p style="text-align: justify;">Paloma Powers, the futurist art agitator and dark materialist, is fascinated by the body as an interface for aesthetic intervention, inside and out. As the line between art object and lifestyle accessory is increasingly blurred, does corporeal sensation itself also become commodity?</p> <p style="text-align: justify;">This summer, Paloma is pleased to present a special intervention at Various Small Fires inspired by ASMR (Autonomous Sensory Meridian Response), the psycho-physical &ldquo;tingling&rdquo; sensation triggered by various stimuli, that has become the basis for an entire online subculture.</p> <p style="text-align: justify;">Through a new sound piece by Berlin&rsquo;s Claire Tolan and a live workshop/symposium in late June, ASMR will be explored as a key site where the body, technology, ritual, and commerce intersect, and what provocative possibilities this holds for artists, scientists and speculative capitalists alike.</p> <p style="text-align: justify;">Claire Tolan&rsquo;s &ldquo;Maybe it wants what it wanted inside out&rdquo; will premiere as a 5-channel installation in Various Small Fires sound corridor (parallel to the group exhibition &ldquo;No! I Am No Singular Instrument&rdquo; curated by Samuel Kenswil), and will also be available to experience online<br /> via <a href="" target="_blank"></a> and <a href="" target="_blank"></a>.</p> <p style="text-align: justify;">Claire Tolan&rsquo;s current work with ASMR uses the soft and mesmerising sounds as equipment in sometimes sweet, and sometimes sardonic, systems of soothing.</p> <p style="text-align: justify;">On June 25, a symposium/workshop will convene special guests from the worlds of art, sound, neuroscience and online communities to discuss this enigmatic phenomenon and tailor live experiences for the participants.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>ABOUT CLAIRE TOLAN</strong></p> <p style="text-align: justify;">Since 2013, much of Claire Tolan&rsquo;s work has found its foundation in the sounds of ASMR, Autonomous Sensory Meridian Response. Tolan has hosted</p> <p style="text-align: justify;">&ldquo;You&rsquo;re Worth It,&rdquo; an ASMR show on Berlin Community Radio for over two years. She has also worked with ASMR in performance, recording, and exhibition, collaborating with musician Holly Herndon, writer and artist Inger Wold Lund, and artist Camilla Steinum, among others. Tolan was the</p> <p style="text-align: justify;">2015 Goethe-Institut and SPACE Perlin Noise sound artist-in-residence at London&rsquo;s White Building. At present, Tolan is developing an ASMR-inspired tabletop role-playing game (RPG) system.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>ABOUT PALOMA POWERS</strong></p> <p style="text-align: justify;">Paloma Powers is a creative agency and consultancy developing innovative, artist-led solutions for clients beyond the traditional art world. Led by Ms. Powers and her associates in New York, Los Angeles, Shanghai, and Amsterdam, the company specializes in connecting art with other industries through consulting, matchmaking, and production.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Paloma Powers (n&eacute;e Paloma Li-Cruz) is a Brazilian born polymath with over 30 years of experience on the cutting edge of the global art world. Early milestones include serving as first creative director of MTV Japan, uncredited stylist to Grace Jones, and muse to Helmut Newton. In her years on the International Color Council, she coined the term &ldquo;greige&rdquo;, and also pioneered the first art-by-Laserdisc subscription service. She established her latest company, Paloma Powers, as a response to limited business models within a changing art world, to elevate the role and value of cultural workers, and to broaden the audiences and contexts for art.</p> <p style="text-align: justify;">&nbsp;</p> <p><a href="" target="_blank"></a></p> <p><a href="" target="_blank"></a></p> Sat, 28 May 2016 16:37:45 +0000 Hannah Black, Brian Khek, Ian Markell, Hannah Quinlan, Rosie Hastings, Ellen Schafer, Hans Jacob Schmidt, Jala Wahid - Various Small Fires - June 4th - July 9th <p style="text-align: justify;">Built environments sculpt and erode us, permeable and penetrable. Architecture and signage move us through structures erected to suit flows of capital first, and people perhaps somewhere down the line. Notice your chair: is your spine in a C or S formation? Design molds us into shapes; so do politics, expanding or limiting our range of motion.</p> <p style="text-align: justify;">Bodies are highlighted by absence: those left out of history and images, deemed applicable for negation, or willingly eschewing representation. LGBT people are made absent by a legacy of death, visible in shuttered social spaces, looming in self-conception.</p> <p style="text-align: justify;">Taxonomies expand and contract as ethics shift. We anthropomorphize flora and fauna which lack lingual vocal cords. The real estate of your presence is always a development opportunity: the material of flesh changeable through repetitive exertion. Are you unsettled by the proximity of <em>you</em> to the things around you? How did you end up looking so much like your room?</p> <p style="text-align: justify;">Meaning changes from context to context; so do you. You spread your/selves out like limbs do.</p> <p style="text-align: justify;">There is a persistent attempt to gather visual markers as a cohesive subjectivity, a whole person made ergonomically into political certitude. An individual, through forced applicability of well-intentioned political ends, operates as means to the reproduction of norms. Trending language favors &ldquo;bodies&rdquo; over &ldquo;people,&rdquo; abstracting those &ldquo;bodies&rdquo; whose corporeality would be politically constituted: a body that<em> fits into</em>, a body that works. You &hellip; abridged.</p> Sun, 29 May 2016 07:38:37 +0000 David Huffman - Roberts & Tilton - June 11th - July 9th Sat, 28 May 2016 16:33:15 +0000 Warren Neidich - LAXART - June 4th - July 9th <p style="text-align: justify;">In collaboration with&nbsp;Sarah Beadle,&nbsp;Walead Beshty, Carolyn Caycedo,&nbsp;Ventina Desideri,&nbsp;Victoria Fu,&nbsp;Charles Gaines,&nbsp;Pablo Helguera,&nbsp;Chris Kraus,&nbsp;Dan Levenson,&nbsp;Candice Lin,&nbsp;Shana Lutker, and&nbsp;Dave Muller.</p> Sat, 28 May 2016 16:31:04 +0000 Jillian Mayer - LAXART - June 4th - July 9th Sat, 28 May 2016 16:30:06 +0000 Joshua Aster - LAXART - June 4th - July 9th Sat, 28 May 2016 16:29:28 +0000 Kristin Calabrese - LAXART - June 4th - July 9th Sat, 28 May 2016 16:28:59 +0000 - Machine Project - May 31st 8:00 PM - 10:00 PM <div class="row"> <div class=" col-12 px1 px2-sm pt3-5 pb4 col-md-8 col-md-offset-2 col-lg-6 col-lg-offset-3 "> <h3 style="text-align: justify;"><span style="font-size: small;">Machine Project presents a special Mystery Theater concert by the Mexico City based group FILERA,</span></h3> <p style="text-align: justify;"><span style="font-size: small;">exploring breath, everyday sounds, and an inner and detailed exploration of human emotions through the works of Helmut Lachenmann, Ignacio Baca Lobera, Carola Bauckholt, Gerhart Muench, Hilda Paredes, and Filera&rsquo;s own works.</span></p> <p style="text-align: justify;"><span style="font-size: small;">FILERA is:</span><br /><span style="font-size: small;"> Carmina Escobar, voice</span><br /><span style="font-size: small;"> Natalia P&eacute;rez Turner, cello</span><br /><span style="font-size: small;"> Wilfrido Terrazas, flutes</span></p> </div> </div> Sat, 28 May 2016 16:25:45 +0000