Publisher NY Art Magazine: Abraham Lubelski

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Jairo Alfonso, 386, 2

Dear Abraham,

Gallery 8 New York opens in Harlem next Thursday with an inaugural exhibition 17 Cuban artists from FACTION Art Projects.

The exhibition, All That You Have Is Your Soul (Feb 2 – March 10) curated by Armando Marino and Meyken Barreto is a group show of 17 artists, all of whom are tied together by their responses to building identity within a foreign land. The exhibition uses the link of heritage between the artists to present artworks that celebrate difference in identity. Each artist in the show has some relationship to Cuba, some island-born emigres, some with careers developed in Cuba and others with more distant descendants. This starting point, a key point of identity for some, but not for others, offers a tangible bond in their linked roots, but the overriding premise is that as a group they mean to redefine themselves within their unique circumstance.

Artists exhibiting:

Alejandro Aguilera, Anthony Goicolea, Armando Mariño, Ariel Cabrera Montejo, Elsa Mora, Enrique De Molina, Ernesto Pujol, Geandy Pavon, Jairo Alfonso, Juan Carlos Quintana, Juan Miguel Pozo, Juana Valdes Maria Magdalena Campos Pons, Marc Dennis, Maritza Molina, Marta Maria Perez, Pavel Acosta, Quisqueya Henriquez

Throughout the show FACTION will seek to engage with local communities of the Harlem neighborhood. This will include a series of School Workshops, Curators’ Talks, a Neighborhood Welcoming Day, Artist Workshops, Panel Discussions and a Cuban Cultural Evening.
FACTION provides artists with promotion and opportunity to access collectors and a wider audience, with all the support of a gallery but without the constraints of the traditional model. FACTION is a new flexible collective, from the team behind the hugely successful Gallery 8 and Coates & Scarry in London, who in this, their foray into the US, are adapting a unique model for artists and gallerists to work together.

All the very best,

Anna

Thanks and congratulation on a significant program and exhibit.

Abraham Lubelski

Editor / Publisher

Press Release

Geandy Pavon, Wrinkled Wing, 201

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Abortion is our country’s Scarlet Letter, an impassioned “A” writ large on our conscience. We shame, blame and deny women their right to self-determination to live, love and when to have or not have children. Although this January is the 45th year anniversary of the Supreme Court Ruling legalizing abortion, there have been, as of last count, 401 rollbacks across the country making it very difficult, and in many cases impossible for women to elect this choice. What can we do about this?

We can march, write articles, sign petitions, hold direct actions We can invent related hashtags like #MeToo–what greater sexual harassment in there than defining what a woman can do with her body? And we can make art. But what might art about abortion look like? What might it accomplish? These are the questions Barbara Zucker explores in “Currents: Abortion” an ambitious exhibit she curated at the A.I.R. Gallery.

Barbara Zucker, artist, writer and activist, is a co-founder of A.I.R. Gallery, established in 1972 as the first not-for-profit, artist-directed and maintained gallery for women artists in the United States.

In my interview with her, Zucker said, “Abortion is talked and written about, but there’s not much art about it. It almost seems taboo. Several artists I approached to do an artwork said “’No’.”

This exhibit is a visual compendium and unfolding of the issues, stories, meanings, and history embedded in one word: Abortion. The 70 works selected from the over 160 submissions, are the artists’ response to a series of questions posed by Zucker.

In selecting the works, Zucker said that “I didn’t know what I was looking for but I knew I didn’t want the usual tropes of hangers, nor large amounts of blood. Nothing specific.” She want

ed works that were “thought provoking, reflecting different states of mind, speaking in different voices.”

Two of A.I.R.’s three galleries, entrance and back hall, are richly filled with works in a breathtaking range of mediums: paintings, drawings, prints, etchings, photographs, collage, sculpture, mixed-media constructions, and a monitor showing several videos. Zucker doesn’t seem to impose any apparent “ordering” of the work. All media, all viewpoints, views and experiences are exhibited together, demanding equal attention–a sisterhood of Me Too. The effect is that of “a visual conversation” representing all the varied experiences women have and have had regarding abortion This not a quiet exhibit. It fairly shouts at you—you hear the different visual voices, experiences, stories, cries and whispers of defiance, anger, pain, sadness, longing, shame, regret, outrage __”the full catastrophe”.

Zucker believes this show is an opportunity for us to listen to artists who have chosen to give voice to their “emotions and perceptions about this subject. You will find depictions of choice, loss, and anger; of fecundity, of disease. There are images of helplessness and images of power. There is work that reaches into the past to demonstrate ways in which women used abortifacients. There is work that is pro-life as well as work that is religious.”

She observes that those who are pro-choice are as passionate as those who are not. “I believe all of us are pro-life: it is the definition of the term that is not the same. Herein lies the dilemma. How do we ever bridge this divide?”

Though much has been written about abortion, there has

not been much visual art. Through this exhibit, Zucker hopes to get people to see the visual and have it be as important as the words. Art, she believes, is a powerful bridge that can engender a kind of “visual dialogue.”

Barbara Zucker’s introduction to the exhibit profoundly states that “Art is visual listening.” She continues with “We use all of our senses to listen and to understand. In this turbulent moment in history, the ability to listen to one another has become a matter of urgency.” “Currents: Abortion” reflects these complexities and is larger than pro and con, yes and no. It goes to the heart of who we are and how we want to be as individuals and as a nation. This exhibit shows us how the personal is political.

Indira Cesarine ACT NOW

Yael Ben-Zion: Photograph Detail 2017 Cemetry at Trinity Church “In Loving Memory of All The Victims of Abortion”

Rosa Naparstek      January 22, 2018

 ____________________________________________________

Participating artists:

Adrienne Jenkins, Alexander Bernon, Amy Cannestra, Amy Finkbeiner, Anne Ferrer, Audrey Anastasi, Bernadette Despujols, Cali Kurlan, Catherine Hall & Meg Lipke, Charlotte Woolf, Christophe Lima, Coco Hall, Cristin Millet, Cynthia Winika, d’Anne de Simone, Dani Sigler, Danielle Siegelbaum, Deborah Wasserman, Devra Fox, Divine Williams, Dottie Attie, Elaine Angelopoulos, Elke Solomon, Ellen Jong, Eugenia Pigassiou, Gina Randazzo , Grace Burney, Greta Young, Heather Saunders & Cassandra, Heather Weathers, Ilona Granet, Indira Cesarine, Irene Gennaro, Jane Zweibel, Jessica Nissen, Julia Kim Smith , Julia Buck, Justine Walker, Karen Meersohn, Kathy Grove, Katrina Majkut, Lannie Hart, Leslie Fry, Leslie Tucker, Megan Pickering, Marie Tomanova, Martha Edelheit, Martha Fleming Ives, Maureen Connor, Mira Schor, Nadine Faraj, Nancy Hellebrand, Nancy Lasar, Nina Meledandri, Parastoo Ahoon, Pat Lasch, Perri Nerri, Rachel Lindsay, Rachel Portesi, Robin Adsit, Robin Jordan, Robin Tewes, Rosemary Meza DesPlas, Ruth Owens, Sabra Moore, Sooyeon Yun, Susan Carr, Valerie Hallier, Virginia Carey, Yael Ben Zion

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Pat Lasch, HV: Four Pregnancies: Two Births, 2014, polymer acrylic paints, pearls, and glass beads, 46″h x 24″ w

CURRENTS an exhibition in which artists respond to the theme of ABORTION. In this turbulent moment in history, abortion remains a signifier of people’s ownership over their bodies, being as urgent a subject as any of the issues that now consume us.

The exhibition includes depictions of choice, loss, and anger; works of fecundity, disease, shame, and pain; images of helplessness and of power. There are pieces that reach into the past to demonstrate ways in which women used abortifacients, as well as work that is pro life and religious. All these propositions are united in the gallery to create a space in which we listen to each other.

Participating artists:
Adrienne Jenkins, Alexander Bernon, Amy Cannestra, Amy Finkbeiner, Anne Ferrer, Audrey Anastasi, Bernadette Despujols, Cali Kurlan, Catherine Hall & Meg Lipke, Charlotte Woolf, Christophe Lima, Coco Hall, Cristin Millet, Cynthia Winika, d’Anne de Simone, Dani Sigler, Danielle Siegelbaum, Deborah Wasserman, Devra Fox, Divine Williams, Dottie Attie, Elaine Angelopoulos, Elke Solomon, Ellen Jong, Eugenia Pigassiou, Gina Randazzo , Grace Burney, Greta Young, Heather Saunders & Cassandra, Heather Weathers, Ilona Granet, Indira Cesarine, Irene Gennaro, Jane Zweibel, Jessica Nissen, Julia Kim Smith , Julia Buck, Justine Walker, Karen Meersohn, Kathy Grove, Katrina Majkut, Lannie Hart, Leslie Fry, Leslie Tucker, Megan Pickering, Marie Tomanova, Martha Edelheit, Martha Fleming-Ives, Maureen Connor, Mira Schor, Nadine Faraj, Nancy Hellebrand, Nancy Lasar, Nina Meledandri, Parastoo Ahoon, Pat Lasch, Perri Nerri, Rachel Lindsay, Rachel Portesi, Robin Adsit, Robin Jordan, Robin Tewes, Rosemary Meza-DesPlas, Ruth Owens, Sabra Moore, Sooyeon Yun, Susan Carr, Valerie Hallier, Virginia Carey, Yael Ben-Zion.

Curated by Barbara Zucker.

Public Programs
January 6, 1pm : The Beginning Choice performance by Parastoo Ahoon
January 7, 2-5 pm : With Women Workshop: Reproductive Self Determination and Autonomous Women’s Health-Care , Maureen Connor and others.
January 12, 19, and 25, 2-6pm : Y our Story , readers will read from personal abortion stories submitted to the gallery
Confirmed readers: Joyce Kozloff, Elke Solomon, Gina Zucker, Nancy Cohen, Patricia Hernandez, Donna Kaz and Joanne Howard

 

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Björk ‘Notget VR’ Directed by Warren Du Preez & Nick Thornton Jones

Being late to speak at the 7th Moscow Biennale, I try the Russian car service Yandex, rather than taking the ornate Moscow subway. My driver’s English is broken though clear. I complain about the Moscow traffic watching cars dart in and out jockeying for position at stop lights. I wish I were on my bicycle weaving the traffic with pedal power. My flights to Moscow and this car ride, perfectly frame my carbon footprint and the anthropogenic concerns for our planet evident in the Biennale.

With ‘Clouds ⇄ Forests,’ curator Yuko Hasegawa, proposes to bridge the younger generation’s internet “Cloud” space with the “Forest Tribes” of older generations, juxtaposing material and virtual. With ‘Clouds ⇄ Forests’ Hasegawa has succeeded in creating a new eco-system, connecting a multiplicity of human, machine and natural worlds by bringing together 24 countries with over 213 artists.

At the Tretyakov we are greeted by a monumental tree, Guardian of Baikal 2017, by Dashi Namdakov, making reference to the deepest lake in Russia. This modern representation of nomad and shaman mythologies connects us with natural and virtual forces. This installation, as with others, has a virtual component allowing us to see the tree in both physical form and immersive worlds as visitors dive into virtual space. Namdakov is concerned with the increasing environmental issues threatening lake Baikal, and I now feel guilty for the fish I ate from lake Baikal, the night before.
Works by Olafur Eliasson using elements of light, technology, and scientific theory cast prismatic light onto the walls. They seem to reflect the works of Russian artists such as

Aleksander Rodchenko, who is represented in the permanent collection of the Tretyakov gallery.
Daisy Ginsberg’s works are seamless visualizations of what is next as we move to the sixth great extinction with humans as the primary cause. She investigates synthetic biology’s potential to impact biodiversity and conservation. With drawings, 3D modeling, and rapid prototyping Ginsberg virtually brings new species to life. She asks, “can we tolerate ‘rewilding’?”

Her works are inspired by bacteria, invertebrates, fungus, and mammals. They are designed as a machining of a new ecology that can play a role in a future symbiosis with the voids humans have created. They offer a sobering if a sad solution to us, the real invasive species with human pollution and consumption as the planet’s primary disease.

Bazowska Natalia’s works blend soil, clay, moss, and bits of fur of various animals to surprise us with a new nature. These constructed sculptures and a video of a wolf breathing, perfectly juxtapose ideals of safe nature with disembodied characters. Here we see virtual and real woven together with care. We are induced into a dreamscape of form and motion not fully characterized, though suggestive of the forest and the trees.
An elusive work by Marie-Luce Nadal The Factory of the Vaporous 2014. Process works captured the essences of clouds and showed cycles and passages of time and its relation to our own existence and influences. In this intense action, extracts of clouds consist of small boxes that are filled with clouds collected by the artist from her Factory of the Vaporous. This collection of 10 boxes, in which little clouds recreate themselves continuously using “essence of clouds” is mysterious. A video nearby and a large sculpture with LEDs and cable ties seems to suggest how challenging it is to create and keep clouds alive.

The Factory of the Vaporous moves between industrial machines and utopic visions. It is the system the artist employs that is a laboratory for her to take samples of the environment. She captures particles of clouds with electric residues from thunderstorms, which are reduced to extracts and then appear in the cubes.

Justine Emard’s work Co(AI)xistence 2017 creates an artistic interaction between human and data as an actor interacts, face to face, with a robot. Based on an artificial life robot that was created by the Ishiguro Lab (Osaka University) this AI creates a unique way of understanding a non-human entity, as they interact through body signals. With body and spoken language, the robot learns from his experience as Japanese actor/dancer Mirai Moriyama and the robot dance together.

The Phobia of Tomorrow 2017 was an interactive work by Where Dogs Run an artist collective out of Ekaterinburg Russia. As you stick your hand in the box, the fear of the future offers a creative solution, by spray printing tomorrow’s date on your arm – transforming the “abstract tomorrow” into a “real today.”

Engaging the future again is Björk’s virtual reality rooms, which are immersive, forward thinking experiences. It brought back memories of how Björk pushed the technology of music videos with All is Full of Love under the direction by Chris Cunningham. Here she has taken on VR and realized its potential.

In one room, you can don the Oculus Rift headset, spin in black stools, and hear and feel Björk’s Stonemilker, a 360-degree experience with songs from the Vulnicura album. Filmed in Iceland by director Andrew Huang. Stonemilker presents Björk performing a haunting track as she melds with the environment.

In one of the last rooms, hand controllers correctly map artificial hands onto yours. The feeling is both familiar and strange, and you realize you are looking at a critical future for entertainment demonstrated with Björk’s application of VR for her music videos.

In this room Björk starts off small and her avatar grows over time glowing with streaming elements of rythmic light. The sound is deeply moving as her avatar dances around singing of death and disembodiment, as she eventually envelops your own body with her own. I found the experience deeply moving and such a work seems to suggest a spiritual moment of virtual spaces introducing us to the afterlife.

‘Clouds ⇄ Forests’ delivers the interchanges between real and virtual, machine and nature, art and technology, and a new eco-system does bloom at the 7th Moscow Biennale.

Yuko Hasegawa’s ‘Clouds ⇄ Forests’ succeeds on so many levels, confirming artists are the preeminent forces for creating and addressing new environmental spheres that impact the physical and emotional.

By Ken Rinaldo
http://www.kenrinaldo.com/

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Korean artist Po Kim, a dearly remembered friend of NY Arts and Abraham Lubelski, is having a retrospective of his work shown at the Korea Society.å

“Po Kim: Making Impossible Demands on Art” is presented in conjunction with the exhibition Po Kim: In Search of Arcadia, on view thru December 1, 2017, at the Korea Society.

It is  the first exhibition in the Master Series, Korean Artists in New York during the 1950s and 1960s.

Po Kim was among the first generation of Korean artists who immigrated to the United States in the 1950s. Instead of committing to any one school, Kim continuously explored various styles and forms, from Abstract Expressionism in the 1950s, to a hyper-realistic idiom in the 1970s, to figurative and allegorical works in the 1990s and 2000s.

Po Kim’s diverse body of work oscillates between an expressive release of trauma and a yearning for an Arcadian escape, echoing a trajectory of extraordinary events throughout his life. As the first exhibition in the Korea Society’s Master Series, Po Kim: In Search of Arcadia presents a selection of works from Kim’s early period in New York within the context of later works from his subsequent stylistic transformations, revealing a progressive journey towards the idyllic safe haven he created in his art and in New York.

Kim’s works have been featured in numerous solo and group exhibitions across the U.S., Europe, and Korea, and are held in important public collections including The Solomon R. Guggenheim Museum, Chicago Art Institute, National Museum of Contemporary Art in Korea, and the Seoul Art Center.

The exhibition is presented in collaboration with the Donghwa Cultural Foundation and The Sylvia Wald and Po Kim Foundation.

The Korea Society Gallery is located at 350 Madison Avenue, 24th floor, in New York.

Image: Po Kim, Untitled, 1958, oil on canvas, 60 x 72, inches. Image copyright: The Sylvia Wald & Po Kim Gallery, New York.

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Museum staff prepares for exhibition at the South Tower gallery in New York, NY on Thursday, May 18, 2017. Photo by Jin Lee, 9/11 Memorial

About the Exhibit

“Cover Stories: Remembering the Twin Towers on The New Yorker” is an exhibition of 33 covers from the weekly news and culture magazine spanning more than four decades of the evolving New York City skyline. The exhibition takes visitors through the magazine’s depictions of the city’s experience as the Twin Towers were constructed and stood as icons of the city, their sudden absence when they were destroyed, the widely felt grief and anxieties in the aftermath of the 9/11 attacks, their commemoration in the years that followed, and the rebuilding of the World Trade Center site now home to The New Yorker and the 9/11 Memorial & Museum. The exhibition will run through May 2018 in the museum’s South Tower Gallery.

Location
9/11 Memorial Museum
180 Greenwich St, New York, NY 10007

Dates and Times
Currently open through May 2018 during normal Museum hours

Price
Cost of Museum admission ($0-24)

Website
https://www.911memorial.org/coverstories

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