BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150725 DTSTAMP:20150528T030616 DTSTART:20150611 GEO:40.739315;-74.004014 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:White Room: Anthony Ballard – organized in collaboration with Fount ain Gallery\, New York UID:385142 END:VEVENT BEGIN:VEVENT DTEND:20150611T200000 DTSTAMP:20150528T030616 DTSTART:20150611T180000 GEO:40.739315;-74.004014 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:White Room: Anthony Ballard – organized in collaboration with Fount ain Gallery\, New York UID:385143 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150725 DTSTAMP:20150528T030616 DTSTART:20150611 GEO:40.739315;-74.004014 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:White Room: #FFFF (Five Fragments For Feature)\, 2015\, Sam Gordon UID:385140 END:VEVENT BEGIN:VEVENT DTEND:20150511T200000 DTSTAMP:20150528T030616 DTSTART:20150511T180000 GEO:40.739315;-74.004014 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:White Room: #FFFF (Five Fragments For Feature)\, 2015\, Sam Gordon UID:385141 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150725 DTSTAMP:20150528T030616 DTSTART:20150611 GEO:40.739315;-74.004014 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Jack & Kate – A Film By Dan Ochiva UID:385138 END:VEVENT BEGIN:VEVENT DTEND:20150611T200000 DTSTAMP:20150528T030616 DTSTART:20150611T180000 GEO:40.739315;-74.004014 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Jack & Kate – A Film By Dan Ochiva UID:385139 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wallspace is pleased to presen t The Cybernetic Fold\, Harry Dodge&rsquo\;s second solo show at t he gallery. The works in this show\, which include sculpture\, drawings\, a nd video\, are ecstatic\, dogged reckonings with intellectual preoccupation s channeled through the artist&rsquo\;s body&mdash\; which might here be co nceived as a kind of organic filter for insuperable questions wrought by st udy. Is the pith of our relation material? How does a die-hard materialist conceptualize\, or instantiate\, the nature of our relations in a digital a ge?

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How might a technophobe&mdash\;or at least someone who feels acutely the diminishments\, wrought by computer s\, of the analog nuances of human communication&mdash\;contend with cyborg ian reality\, or what Paul Preciado has called the ever-accelerating &ldquo \;pharmacopornographic era&rdquo\;? How might flatness&mdash\;which we conf ront daily in the form of monitors and smart phones\, etc.&mdash\;be recons idered?

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What if flatness didn&rsquo\; t lack? What makes thickness\; what makes dimension? What is the thickness of our relation to each other? How does a single bend make volume? If Rosi Braidotti is right\, that &ldquo\;The inhuman is not what it used to be\,&r dquo\; what is it now\, and what are we? What might Georges Bataille&rsquo\ ;s idea of man as &ldquo\;a particle inserted into unstable and tangled ens embles&rdquo\; look or feel like\, if materialized into shape\; what if the se ensembles are not only digital\, but also endlessly shaped by interest\, love and shame?

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Dodge&rsquo\;s inter rogation has him turning everyday objects inside-out (&ldquo\;Love Fuzz/ Ma ny Mr. Strange&rdquo\;)\, scraping idiotic koans from comment boxes in a se ries of three Plexiglas stencils (&ldquo\;The Gross Part\,&rdquo\; &ldquo\; Franks and Beans\,&rdquo\; &ldquo\;Rap With Meaning&rdquo\;)\, repurposing scraps (&ldquo\;Without the Random\, There Can Be No New Thing (hey hey mam a\, said the way you move\, gonna make you sweat\, gonna make you \; gr oove)\, playing the (comedic) line between the abstract and the anthropomor phic (&ldquo\;In This Hole /Honey Bucket&rdquo\;)\, putting his own technos kin on display (&ldquo\;My Glassy Essence (Shame in the Cybernetic Fold)&rd quo\;). The fantasia here created may glitter (as in &ldquo\;Fuck Me/Who&rs quo\;s Sorry Now&rdquo\;)\, but this is no Plato&rsquo\;s cave. Dodge&rsquo \;s work&mdash\;frenetic\, lewd\, hallucinatory\, and visceral&mdash\;conju res the pulsing\, multivalent bodies whose desires drive\, and often collid e with\, machine (not to mention with each other).

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Harry Dodge (b. 1966\, lives and works in Los Angeles\, CA) has exhibited his work widely. Recent exhibitions and screenings include the world premiere of The Time-Ea ters\, Hammer Museum\, Los Angeles (2014)\; Made in L.A. 2014\, Hammer Muse um\, Los Angeles (2014)\; Meaty Beaty Big and Bouncy&mdash\;curated by Kell y Taxter\, Aldrich Contemporary Art Museum\, Ridgefield\, CT (2013)\; Whitn ey Biennial\, Whitney Museum of American Art\, New York\, NY (2008).

DTEND:20150620 DTSTAMP:20150528T030616 DTSTART:20150516 GEO:40.751817;-74.0061123 LOCATION:Wallspace Gallery\,619 W. 27th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:The Cybernetic Fold\, Harry Dodge UID:385137 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Summer Reading
Francis Alÿ\;s\, Ma ssimo Bartolini\, Jimmie Durham\, Fernanda Gomes

dates: 4 June & ndash\; 24 July 2015

Peter Freeman\, Inc.\, New York is pleased to present &ldquo\;Summer Reading\,&rdquo\; curated by sculptor Richard Wen tworth and featuring works by Francis Alÿ\;s\, Massimo Bartolini\, Jimm ie Durham\, and Fernanda Gomes. With material economy and formal intelligen ce\, each artist employs a keen acuity to the residue of daily life\, and a poetic sensitivity to its messages. In their hands\, the familiar and unex ceptional shifts shape\, signaling us to see anew.

Wentworth ha s chosen to introduce the exhibition with two photographs from Brassaï\ ;&rsquo\;s 1933 series "Sculptures Involontaires\," first published that ye ar in the Surrealist publication Minotaure: rare works that record the acci dental animation of discarded bits\, like a rolled up bus ticket\, or a blo b of toothpaste. These will be shown with a selection from Wentworth's own photographic series "Making Do and Getting By" (1974-ongoing).

Francis Alÿ\;s was born in 1959\, in Antwerp\, Belgium\; he lives and w orks in Mexico. His diverse work engages with everyday life and urbanity as well as social and political issues and includes video\, painting\, perfor mance\, drawing\, and photography. His sculpture is often made of the unexp ected&mdash\;materials as lowly even as chewing gum\, which is the starting point for his group of works on view here\, among them Bandera (Flag)\, 19 91/92.

Massimo Bartolini was born in 1962\, in Cecina\, Italy wh ere he lives and works. The realization of an idea into form\, the ephemera l into something concrete\, and the physical record of how it is done are a t the root of his installations\, sculptures\, performances\, and photograp hic works. He describes his airplane drawings &ndash\; one of which will be on view here alongside a selection of other works &ndash\; as &ldquo\;tech nical drawings in reverse.&rdquo\;

Jimmie Durham was born in 194 0 in Washington\, Arkansas\; he lives and works in Berlin. His work as an a rtist\, activist\, and poet concerns both natural and urban realms\, their material and socio-political make-ups\, and the intersections and oppositio ns between them. On view here will be several recent works\, including one incorporating olive-tree trunks and another the taxidermied head of a steer .

Fernanda Gomes was born in 1960 in Rio de Janeiro\, Brazil\, where she lives and works. In keeping with her practice of making work on s ite with materials collected locally\, she will make some of the pieces for "Summer Reading" while in New York. Her works seem to call into question t he very nature of their presence and material even as their transformation imparts power to that which\, at first\, seems barely there.

For reproduction requests\, interviews with the artist and general inquiries\, please contact the gallery at 212-966-5154 or info@peterfreemaninc.com.

DTEND:20150724 DTSTAMP:20150528T030616 DTSTART:20150604 GEO:40.720383;-73.9994285 LOCATION:Peter Freeman\, Inc.\,140 Grand St. \nNew York\, NY SEQUENCE:0 SUMMARY:Summer Reading UID:385135 END:VEVENT BEGIN:VEVENT DTEND:20150604T200000 DTSTAMP:20150528T030616 DTSTART:20150604T180000 GEO:40.720383;-73.9994285 LOCATION:Peter Freeman\, Inc.\,140 Grand St. \nNew York\, NY SEQUENCE:0 SUMMARY:Summer Reading UID:385136 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Whitney Museum curator Jay San ders and poet Charles Bernstein will discuss their work in\, on\, and aroun d sound\, performance\, installation\, dance\, poetry\, theater\, poetics\, curating\, editing\, essay writing\, and teaching. They will also reflect on their previous collaboration curating the 2001 exhibition Poetry Pla stique at the Marianne Boesky Gallery.

DTEND:20150611T190000 DTSTAMP:20150528T030616 DTSTART:20150611T180000 GEO:40.745377;-74.006871 LOCATION:The Kitchen\,512 West 19th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Jay Sanders & Charles Bernstein in Conversation UID:385134 END:VEVENT BEGIN:VEVENT DESCRIPTION:

SCRAAATCH performs SCRAAAT CH no. 9\, part of a series of collaborative performance works. Combin ing live sound processing and performative notation\, the duo develops an i ntricate physical and aural choreography\, exploring the difficulties of me diated communication and exchange.

DTEND:20150605T170000 DTSTAMP:20150528T030616 DTSTART:20150605T160000 GEO:40.745377;-74.006871 LOCATION:The Kitchen\,512 West 19th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:SCRAAATCH no. 9 \, SCRAAATCH UID:385133 END:VEVENT BEGIN:VEVENT DESCRIPTION:

S/N explores the comp lex dynamics of sound\, in particular its tendency to exceed\, disrupt\, or evade attempts at its capture. S/N\, an abbreviation for signal-t o-noise ratio\, refers to the balance between a desired communication and t he unwanted background noises emanating from the materials and environments it traverses. The writers\, musicians\, and artists included in the exhibi tion take up the material complexities of sound\, understanding the aural a s a site of potential interference. Moving through language and into noise\ , S/N examines the possible breaking points of communication as it extends in\, through\, and beyond the intelligible. Curated by Ale x Fleming\, Anya Komar\, and Blair Murphy \, Helena Rubinstein Curatorial Fellows of the Whitney Museum of A merican Art Independent Study Program.

DTEND:20150613 DTSTAMP:20150528T030616 DTSTART:20150522 GEO:40.745377;-74.006871 LOCATION:The Kitchen\,512 West 19th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:S/N\, Cammisa Buerhaus\, Sonia Boyce\, Ain Bailey\, James Coleman\, Manon de Boer\, Joan La Barbara\, Tracie Morris\, Vanessa Place\, Steve Re inke\, Lis Rhodes\, SCRAAATCH\, Masha Tupitsyn\, Ultra-red\, Galina Ustvols kaya\, Jackie Wang UID:385132 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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\nSikkema Jenkins &\; Co. is pleased to pr esent Over &\; Under a group exhibitio featuring work by Tony F eher\, Charles Harlan\, Bill Jenkins\, Matt Keegan\, Babette Mangolte &\ ; Trisha Brown\, Virginia Overton\, Kay Rosen\, Diane Simpson\, and Haim St einbach on view from June 4 through July 24\, 2015.
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Ov er &\; Under presents various works that have a clear relationship to the history of Minimalism\, as evidenced by their material economy and m odes of display. Within this shared language of presentation\, the artists also utilize a specific and related syntax. Predominantly rooted in sculptu re\, the included works employ familiar materials with a straightforwardnes s &ndash\; meaning the viewer can map the process of making and/or assembly \, leading to a conversational pace and interplay that weaves throughout th e gallery.
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\n DTEND:20150724 DTSTAMP:20150528T030616 DTSTART:20150604 GEO:40.7476226;-74.0061424 LOCATION:Sikkema Jenkins & Co\,530 W.22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Over & Under\, Babette Mangolte\, Trisha Brown\, Bill Jenkins\, Cha rles Harlan\, Diane Simpson\, Haim Steinbach\, Kay Rosen\, Matt Keegan\, To ny Feher\, Virgina Overton UID:385130 END:VEVENT BEGIN:VEVENT DTEND:20150604T200000 DTSTAMP:20150528T030616 DTSTART:20150604T180000 GEO:40.7476226;-74.0061424 LOCATION:Sikkema Jenkins & Co\,530 W.22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Over & Under\, Trisha Brown\, Tony Feher\, Charles Harlan\, Bill Je nkins\, Matt Keegan\, Babette Mangolte\, Virgina Overton\, Kay Rosen\, Dian e Simpson\, Haim Steinbach UID:385131 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sears-Peyton Gallery is please d to present entonces\, recent work by New York artist Lourdes San chez.

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"Images in the liminal space\, between sleep and awake\, just before consciousness\, just behind your eyel ids\, colors and shapes that swim up into the light\, like fugitives\, and then\, entonces\, like fugitives\, disband. \; Sanchez&rsquo\; visions\, ephemeral\, transitory\, sometimes playful sometimes moody\, ser ve as an anecdote to what the artist describes as her own persistent sense of displacement and dislocation: \; in the work we find location\, patt ern\, an accomplished navigation between boundlessness and form. \; The paint is running wild within organic\, archetypal shapes suggesting pods\, waves\, blossoms\, ribbons. \; Each piece evokes a sensual\, humorous tension between the flow and the edge&mdash\;smoky oceanic and sky hues at dawn or as night falls invite the viewer into a world that is elegant and d reamlike.

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Sanchez paints with inks mi xed from pigments. \; She spends days mixing the colors\, creating her own palate and range that allows for a nuanced and dimensioned experience o f the work. \; The ink and water on silk mounted on paper gives her art istic control while allowing for unpredictability. "  \;  \; \;

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 \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; &nb sp\;  \;  \;  \;  \;  \;  \;  \;  \;  \ ;  \;  \;  \;  \;  \;  \;  \; -Nona Caspers

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Lourdes Sanchez&nb sp\;was born in Havana\, Cuba and raised in Queens\, NY.  \;This is her first one-person exhibition. \; She divides her time between Brooklyn\ , NY and Merida\, Yucatan.

DTEND:20150626 DTSTAMP:20150528T030616 DTSTART:20150521 GEO:40.749843;-74.005914 LOCATION:Sears-Peyton Gallery\,210 11th Ave. Suite 802\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Entonces \, Lourdes Sanchez UID:385129 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Josef Astor' s images capture the space between moments\, a difficult and penetrating st asis. The portraits selected for Displaced Persons are multifaceted\, unner ving\, and surreal. Staging and photographing his peers and muses\, Astor i ntuitively documented key players from intersecting pre-millennial and pre- Internet dance and late-night performance subcultures\, assembling a conste llation of artists and hybrids who took it upon themselves to reflect a lar gely oblivious world back onto itself with venomous innocence and shocking self-possession. Astor\, in all his subtlety\, is one of those hybrids.

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--Antony\, Josef Astor and the Terr ible Pall of Stillness

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From May 31 &ndash\; July 12\, 2015\, PARTICIPANT INC is proud to present Josef Astor\, Displaced Persons\, a solo exhibition of pho tographs\, curated by the artist&rsquo\;s longtime friend and subject\, Antony. Best known for his decades of work as a photographer for Vanity Fair\, The New York Times\, and other media outlets\, Astor&rsqu o\;s exhibition features twenty-four works made outside the commercial real m: largely unpublished photographs of artists and performers who subverted the stereotype and the artifice of the icon in the late 1980s\, &lsquo\;90s \, and &lsquo\;00s.

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Whether a studio portrait or a screen projection tableau\, displaced refers to the physical outsidedness and anti-establishments these artist-subjects created\, operat ed within\, and\, most importantly\, made visible and public. Offering a ra re opportunity to see Astor&rsquo\;s experimental work\, the exhibition for egrounds conceptions of community that value the uncommon\; and subjects wh o authored alternative contexts\, depicted here not only as subject matter\ , but also as testament to Astor&rsquo\;s category-defying collaborations w ith friends and fellow artists.

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Evide nced in several of the portraits of figures such as Dancenoise (Anne Iobst and Lucy Sexton)\, John Kelly\, Charles Atlas\, Joe Westmoreland\, Johanna Constantine\, and many others\, an incongruous juxtaposition of representat ion and setting is achieved. Through a mode of 'cut and paste\,' by way of a screen projection technique\, several facets of being are portrayed. A pr ime example of Astor&rsquo\;s complex construct of a dual existence&mdash\; of here and elsewhere&mdash\;is revealed in the portrait\, Page + Wid (1999 ). A personal muse\, gender pioneer\, and radical performance artist who te sted the limits of her audience more than most recognized artists of the ti me&mdash\;otherworldly Page is pictured with her mother\, set against a pro jected forest\, holding her mother&rsquo\;s face as if to faintly grasp the normative world that she eclipsed in daily life.

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In addition to finding inspiration through many of his subject s\, Astor&rsquo\;s theatrically staged\, historically informed photographs can be ascribed to the influence of two photographers he worked with as an assistant: a sort of skewed classicism grew out of working with Irving Penn \; and the tableaux style\, using in-camera low tech special effects is a d irect influence of the British theater photographer\, Angus McBean.

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Images that appear to reference classic stud io portraiture\, more than subscribe to it\, are photographs of Octavia Pem berton St. Laurent (1987) and Pearl (1994). The color shift that is visible in most of the photographs can be attributed to Paul Outerbridge&rsquo\;s personalization of his color palette. Astor&rsquo\;s distinct color process &mdash\;one that utilizes a cross-processing technique that creates an appe arance of a removal of color or an improperly balanced color&mdash\;can be seen in Annie + Puppet (1994) and Leigh Bowery (1993).

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The exhibition also includes never published images made in collaboration with Charles Atlas and Johanna Constantine for the magazin e Dance Ink&mdash\;a publication conceived as an alternative performance sp ace and an index of the ephemeral art form. For Dance Ink's Winter 1993-94 issue\, Atlas directed a series of portraits aiming to go beyond traditiona l dance photographs\, and to be about dance\, while Astor introduced a dram atic context to the set to further challenge easy categorization of any one aesthetic or discipline.

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Jos ef Astor launched his career in 1985 in a New York studio above Ca rnegie Hall after moving from his home in Ohio. Astor&rsquo\;s acclaimed ph otography focuses primarily on subjects from the world of music\, art\, arc hitecture\, dance\, and theater. His photographs have appeared in Vanity Fa ir\, The New York Times\, The New Yorker\, Newsweek\, Rolling Stone\, among many other publications. Widely collected and exhibited\, his first solo s how was at Tom Cugliani (1989)\, and was included in the Vanity Fair Portra its exhibition at the National Portrait Gallery in London (2008)\, and rece ntly in The Digital Darkroom exhibition at the Annenberg Space for Photogra phy in L.A (2012). He directed his first documentary feature\, Lost Bohemia \, which premiered in 2010 and won a Special Jury Prize at DOC-NYC Festival . Among other awards of recognition\, he was recipient of the prestigious I nfinity Award from the International Center of Photography. Astor is curren tly on the faculty of the School of Visual Arts in New York City and has al so taught in the MFA program at Bard College.

DTEND:20150712 DTSTAMP:20150528T030616 DTSTART:20150531 GEO:40.721476;-73.985293 LOCATION:Participant Inc.\,253 East Houston Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Displaced Persons\, Josef Astor UID:385127 END:VEVENT BEGIN:VEVENT DTEND:20150531T210000 DTSTAMP:20150528T030616 DTSTART:20150531T190000 GEO:40.721476;-73.985293 LOCATION:Participant Inc.\,253 East Houston Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Displaced Persons\, Josef Astor UID:385128 END:VEVENT BEGIN:VEVENT DESCRIPTION:

José\;e Bienv enu is pleased to present Adam Winner&rsquo\;s first solo exhibition in New York. Titled Scratchpad\, the exhibition unfolds as \;an abst ract self-portrait based on the artist's \;negotiation with his body me asurements. \;The works examine Winner&rsquo\;s distorted\, subjective& nbsp\;notion of his body\, and the external manifestations of internal conf lict. \;Aspects of his body serve as dimensional constraints\, \;an d \;inform the \;content of his paintings. \;

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A series of \;Gunboats \; (a \;nod \;to the Fats Waller song \;Your Feet&rsquo\;s Too Big) \;become clownishly large footgear\, able to stand on their own. Head Bucket\, \;a bluntly-titled \;and \;shaped c anvas\, is meant to be looked \;into \;rather than \;< em>at. \;Executed with some lines by René\; Char in mind \;(Je n'é\;tais ce jour-là\; que deux ja mbes qui marchent./Aussi\, le regard sec\, le nul au centre du visage) \, it is hung high\, at eye-level. \;Body Bucket \;also disrupts the usual act of looking at a painting and invites entry in to the work. Bortle (the title refers to an astronomer who conceiv ed of a system for quantifying darkness) is \;the largest painting. Its dimensions are based on the artist's height by his wingspan. \;A multi layered &ldquo\;black&rdquo\; painting\, with colors seeping through\, it f igures the opaque complexity of being. \;

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Adam Winner uses abstract painting as a tool to resolv e inner struggle. The hand is very\, deliberately\, apparent in the work. H is paintings of \;elementary \;gestures are imbued with a feeling o f self-doubt\, \;but \;shot through \;with \;a sense of con fidence \;and control over the materials. \;Conflict and uneasiness form part of the content of his work. The paintings are concerned with mul tiple forms of imperfection. \;Brought into play through constraints bo th personal\, and universal\, such as the notion of a &ldquo\;golden ratio& rdquo\;\, the theorized ideal proportion\, only brought up in order to be d eviated from.

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Born in Bri dgeport\, CT in 1979\, Adam Winner lives and works in Brooklyn\, NY. He rec eived his BFA from Syracuse University in 2001. Selected group exhibitions include: The Thin Line\, 9.99 Gallery\, Guatemala City\, Guatemala (2014)\; Painting Alumni Retrospective\, Syracuse University\, NY (2014)\; Surrende r Flag\, Ampersand Gallery\, Portland (2014)\; Provisionals\, José\;e Bienvenu Gallery\, New York (2014)\; Evidence of Absence\, Ziehersmith\, N ew York (2014).

DTEND:20150711 DTSTAMP:20150528T030616 DTSTART:20150528 GEO:40.7464825;-74.0069332 LOCATION:Josee Bienvenu Gallery\,529 West 20th St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Scratchpad\, Adam Winner UID:385125 END:VEVENT BEGIN:VEVENT DTEND:20150604T200000 DTSTAMP:20150528T030616 DTSTART:20150604T180000 GEO:40.7464825;-74.0069332 LOCATION:Josee Bienvenu Gallery\,529 West 20th St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Scratchpad\, Adam Winner UID:385126 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jack Shainman Gallery is pleas ed to present Yoan Capote&rsquo\;s second solo exhibition\, opening Thursda y\, May 28th. Collective Unconscious explores history and the dist inctive ways in which shared social experiences influence the individual. D rawing on Carl Jung&rsquo\;s assertion that a person&rsquo\;s behavior and thoughts maintain an unconscious link with the past and its archetypes\, Ca pote delves into his Cuban nationality while speaking to a universal experi ence. In these recent works\, he investigates cultural symbols&mdash\;expos ing their fissures\, \;revelling \;in their inherent contradictions \, and imploring the viewer to reconsider the \;acceptance of history a s absolute truth.

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The notion of the p ast as a tightly wound narrative is a long-running theme in Capote&rsquo\;s work. Laboratorio\, 2012\, came to fruition when the artist began collecting photographs of large crowds gathering at political events. Intr igued by the subjectivity of photography as a metaphor for the constructed nature of history\, Capote zeros in on the photographic process itself. The installation features flasks and petri dishes placed on a table with a var iety of other chemistry equipment\, an ambitious science experiment abandon ed and long forgotten. Upon close examination\, images are visible across t he glass surfaces where photographs documenting political events have strat egically been printed. In Capote&rsquo\;s work\, history is often expressed as a process\, just like any other\, rife with manipulation\, omission\, a nd control.

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Dismantling historical ar chetypes in order to understand and reinvent them is also one of the thread s in Immanencia\, 2015\, a giant bust of Fidel Castro constructed from thousands of door hinges\, originally sourced from Havana buildings. L ooming over the 20th street gallery\, the work is a monumental meditation o n passage across borders and the duality of meaning.

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Sacra Geometria (buscando identidad) and Sacra Geometria (perdiendo identidad)\, both 2015\, give similar deconstruc tive treatment to another Cuban icon: the flag. Rendered minimally within a steel cube\, these two opposite allegories reflect the very real division in Cuban society\, as well as the vacuity versus the value of all-encompass ing ideals like independence\, equality\, and nationalism.

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Although many of the works in the exhibition point to the ways in which history has overwhelmingly been shaped by those in power \, Capote does leave space for optimism. As is the case with the door hinge s in Immanencia and Cuba&rsquo\;s border itself\, what was once closed can be opened. Above all else\, Collective Unconscious posits hope. If history is a malleable construct\, then it is up to the individual to tap into the collective and reclaim the narrative of history going forward.

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Yoan Capote has exhibited extensively internation ally\, including Portugal\, Spain\, Switzerland\, France\, England\, Panama \, Cuba and the United States. Capote was one of four artists who represent ed Cuba at the 54th Venice Biennale in Cuba Mon Amour (2011). He installed his thirty-foot tall monumental sculpture Stress in the11th Havana Biennial (2012) and in Portugal Arte 10 EDP in Lisbon (2010). A group of outdoor sc ulptures were exhibited recently at LongHouse Reserve in East Hampton\, New York.

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Capote has been the recipient of numerous awards including International Fellowship Grant from the Guggen heim Foundation (2006)\, a UNESCO Prize (2000)\, a Pollock-Krasner Foundati on Grant (2006)\, a Vermont Studio Center Fellowship (2002)\, and a residen cy at the Brownstone Foundation in Paris (2003). A forthcoming monograph of Capote&rsquo\;s work\, with contributions by Tanya Barson\, Curator of Int ernational Art\, Tate Modern and Jen Mergel\, Robert L. Beal\, Enid L. Beal and Bruce A. Beal Senior Curator of Contemporary Art\, Museum of Fine Arts \, Boston\, Nelson Herrera Ysla\, Alex Rosenberg\, and Charmaine Picard wil l be published by Skira in Fall 2015.

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Five Decades\, a solo exhibition of the work of El Anatsui\, is c urrently on view at The School in Kinderhook\, New York\, through Saturday\ , September 26th. Upcoming exhibitions include Enrique Martinez Celaya\, op ening Thursday\, September 10th at 513 West 20th Street and 524 West 24th S treet. Gallery hours are Tuesday through Saturday from 10 am to 6 pm. Please note the gallery will be closed July 3rd through 6th. Beginning T uesday\, July 7th\, Summer hours resume Monday through Friday\, from 10am t o 6pm. For additional information and photographic material please contact the gallery at info@jackshainman.com. \;

DTEND:20150710 DTSTAMP:20150528T030616 DTSTART:20150528 GEO:40.7489192;-74.0050579 LOCATION:Jack Shainman Gallery 24th Street\,524 West 24th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Collective Unconscious \, Yoan Capote UID:385123 END:VEVENT BEGIN:VEVENT DTEND:20150528T200000 DTSTAMP:20150528T030616 DTSTART:20150528T180000 GEO:40.7489192;-74.0050579 LOCATION:Jack Shainman Gallery 24th Street\,524 West 24th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Collective Unconscious \, Yoan Capote UID:385124 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Ja ck Shainman Gallery is pleased to present Yoan Capote&rsquo\;s second solo exhibition\, opening Thursday\, May 28th. Collective Unconscious e xplores history and the distinctive ways in which shared social experiences influence the individual. Drawing on Carl Jung&rsquo\;s assertion that a p erson&rsquo\;s behavior and thoughts maintain an unconscious link with the past and its archetypes\, Capote delves into his Cuban nationality while sp eaking to a universal experience. In these recent works\, he investigates c ultural symbols&mdash\;exposing their fissures\, \;revelling \;in t heir inherent contradictions\, and imploring the viewer to reconsider the&n bsp\;acceptance of history as absolute truth.

\n

The notion of the past as a tightly wound narrative is a long-running theme in Capote &rsquo\;s work. Laboratorio\, 2012\, came to fruition when the art ist began collecting photographs of large crowds gathering at political eve nts. Intrigued by the subjectivity of photography as a metaphor for the con structed nature of history\, Capote zeros in on the photographic process it self. The installation features flasks and petri dishes placed on a table w ith a variety of other chemistry equipment\, an ambitious science experimen t abandoned and long forgotten. Upon close examination\, images are visible across the glass surfaces where photographs documenting political events h ave strategically been printed. In Capote&rsquo\;s work\, history is often expressed as a process\, just like any other\, rife with manipulation\, omi ssion\, and control.

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Dismantling historical archetypes i n order to understand and reinvent them is also one of the threads in I mmanencia\, 2015\, a giant bust of Fidel Castro constructed from thous ands of door hinges\, originally sourced from Havana buildings. Looming ove r the 20th street gallery\, the work is a monumental meditation on passage across borders and the duality of meaning.

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Sacra Geo metria (buscando identidad) and Sacra Geometria (perdiendo identid ad)\, both 2015\, give similar deconstructive treatment to another Cub an icon: the flag. Rendered minimally within a steel cube\, these two oppos ite allegories reflect the very real division in Cuban society\, as well as the vacuity versus the value of all-encompassing ideals like independence\ , equality\, and nationalism.

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Although many of the works in the exhibition point to the ways in which history has overwhelmingly be en shaped by those in power\, Capote does leave space for optimism. As is t he case with the door hinges in Immanencia and Cuba&rsquo\;s border itself\ , what was once closed can be opened. Above all else\, Collective Unconscio us posits hope. If history is a malleable construct\, then it is up to the individual to tap into the collective and reclaim the narrative of history going forward.

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Yoan Capote has exhibited extensively int ernationally\, including Portugal\, Spain\, Switzerland\, France\, England\ , Panama\, Cuba and the United States. Capote was one of four artists who r epresented Cuba at the 54th Venice Biennale in Cuba Mon Amour (2011). He in stalled his thirty-foot tall monumental sculpture Stress in the11th Havana Biennial (2012) and in Portugal Arte 10 EDP in Lisbon (2010). A group of ou tdoor sculptures were exhibited recently at LongHouse Reserve in East Hampt on\, New York.

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Capote has been the recipient of numerous awards including International Fellowship Grant from the Guggenheim Founda tion (2006)\, a UNESCO Prize (2000)\, a Pollock-Krasner Foundation Grant (2 006)\, a Vermont Studio Center Fellowship (2002)\, and a residency at the B rownstone Foundation in Paris (2003). A forthcoming monograph of Capote&rsq uo\;s work\, with contributions by Tanya Barson\, Curator of International Art\, Tate Modern and Jen Mergel\, Robert L. Beal\, Enid L. Beal and Bruce A. Beal Senior Curator of Contemporary Art\, Museum of Fine Arts\, Boston\, Nelson Herrera Ysla\, Alex Rosenberg\, and Charmaine Picard will be publis hed by Skira in Fall 2015.

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Five Decades\, a solo exhibition of the wo rk of El Anatsui\, is currently on view at The School in Kinderhook\, New Y ork\, through Saturday\, September 26th. Upcoming exhibitions include Enriq ue Martinez Celaya\, opening Thursday\, September 10th at 513 West 20th Str eet and 524 West 24th Street. Gallery hours are Tuesday through Saturday fr om 10 am to 6 pm. Please note the gallery will be closed July 3rd t hrough 6th. Beginning Tuesday\, July 7th\, Summer hours resume Monday throu gh Friday\, from 10am to 6pm. For additional information and photo graphic material please contact the gallery at info@jackshainman.com.

DTEND:20150710 DTSTAMP:20150528T030616 DTSTART:20150528 GEO:40.7462265;-74.0062341 LOCATION:Jack Shainman Gallery 20th Street\,513 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Collective Unconscious\, Yoan Capote UID:385121 END:VEVENT BEGIN:VEVENT DTEND:20150528T200000 DTSTAMP:20150528T030616 DTSTART:20150528T180000 GEO:40.7462265;-74.0062341 LOCATION:Jack Shainman Gallery 20th Street\,513 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Collective Unconscious\, Yoan Capote UID:385122 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"I believe we lose immortality because we have not conquered our opposition to death\; we keep insisting on the primary\, rudimentary i dea: that the whole body should be kept alive. We should seek to preserve o nly the part that has to do with consciousness." &ndash\; Adolfo Bioy Casar es\, The Invention of Morel.

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Inspired by Argentinian author Adolfo Bioy Casares&rsquo\; 1940 novel\, The Invention of Morel\, the exhibition M emory Burn explores concepts of presence\, absence\, immortality\, and deat h. The title of the exhibition refers simultaneously to unforgettable visio ns burned in the mind and to digital burning used to archive memories.

DTEND:20150816 DTSTAMP:20150528T030616 DTSTART:20150710 GEO:40.72012;-73.990339 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Memory Burn\, Daniel Canogar\, Exonemo\, Rafael Lozano-Hemmer\, Sar a Ludy\, Sarah Rothberg\, Angela Washko\, Andrea Wolf UID:385119 END:VEVENT BEGIN:VEVENT DTEND:20150710T200000 DTSTAMP:20150528T030616 DTSTART:20150710T180000 GEO:40.72012;-73.990339 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Memory Burn\, Daniel Canogar\, Exonemo\, Rafael Lozano-Hemmer\, Sar a Ludy\, Sarah Rothberg\, Angela Washko\, Andrea Wolf UID:385120 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Higher Pictures presents R ez\, a new site-specific installation conceived by artist Joshua Citar ella for his second solo exhibition with the gallery. Citarella&rsquo\;s tr ansdisciplinary approach brings together five distinct bodies of photograph ic and sculptural work that explore the transfiguration of matter and meani ng in the process of making and reading images today\, an idea that is at t he core of Citarella&rsquo\;s art.

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Th e title Rez comes from the online gaming community&rsquo\;s abbrev iation for &ldquo\;resurrection&rdquo\; and is a phonetic play on &ldquo\;r es\,&rdquo\; or resolution&mdash\;the quality of a digital image and\, more broadly\, the act of uniting discrete units into a conceptual whole. For C itarella\, it &ldquo\;lands between references to Catholicism\, miracle wor kers\, and transfiguration\, and then digitization\, compression\, and simu lation.&rdquo\; He points to the French philosopher Jean Baudrillard&rsquo\ ;s concept of the &lsquo\;rosy-colored resurrection\,&rsquo\; in which Baud rillard describes the process of simulating life\, as when funeral homes ap ply blush to the face of a corpse. Citarella sees retouching a photograph\, and the act of making one in general\, as akin to this notion of resurrect ion. A photograph is\, in this conception\, less related to the reality of what is depicted than it is to the significance of mimesis itself. A photog raph is simultaneously resemblance and record\, by its nature a th ing that is not what it seems. It is within this ambivalence that Citarella achieves\, suggests\, and references the impossible\, or seemingly magical \, in his work.

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In the series Weightl ess Stone\, comprising three prints and ceramic tiles propped against the g allery walls\, Citarella has photographed impressive solid marble plinths i n his studio. Marble is far too unwieldy a material for Citarella to work w ith in reality\, but the tiles provide a clue to the painstaking part-analo gue\, part-digital process he has used to make the images. In Hands Wit h Multiplied Coltan\, two delicate hands are shown sifting through a d ark\, sandy material\, apparently the conflict mineral present in nearly ev ery commercial electronic device. Rods used by the exploited coltan miners and a pile of the pulverized ore appear elsewhere in the installation. Gallium Over Aluminum is a living sculpture that changes as the poured gallium melts\, resolidifies\, and in sections penetrates into the aluminu m base\, forming an alloy. Nearby\, Body Anointed with Gallium Awaits T ransfiguration shows a nude model&rsquo\;s torso splashed with the phy sical metal and flecked with digital glitches that suggest errant airbrushi ng marks. Weaving complex half-fictions together with straightforward exper imentation and representation\, often within a single piece\, Citarella ass erts that the way we encounter images today has become so dematerialized th at the mundane and the miraculous are one and the same.

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Joshua Citarella was born in 1987 in New York. Recent ex hibitions of his work include Under Construction: New Positions in Amer ican Photography at Fotografiemuseum Amsterdam (FOAM) and MOCAtv P resents: A Jogging Screening at the Museum of Contemporary Art\, Los A ngeles. He is organizer of thePSDshow.org \;(2012&ndash\;)\, an ongoing online exhibition of freely downloadable Photoshop files and is a member of the artist Tumblr pr oject The Jogging. Citarella lives and works in New York.

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For more information please contact Patrick Lloyd at 2 12-249-6100.

DTEND:20150627 DTSTAMP:20150528T030616 DTSTART:20150528 GEO:40.774761;-73.963265 LOCATION:Higher Pictures\,980 Madison Avenue \nNew York\, New York 10075 SEQUENCE:0 SUMMARY:Rez\, Joshua Citarella UID:385117 END:VEVENT BEGIN:VEVENT DTEND:20150528T200000 DTSTAMP:20150528T030616 DTSTART:20150528T180000 GEO:40.774761;-73.963265 LOCATION:Higher Pictures\,980 Madison Avenue \nNew York\, New York 10075 SEQUENCE:0 SUMMARY:Rez\, Joshua Citarella UID:385118 END:VEVENT END:VCALENDAR