15 July – 20 August 2016
Opening reception: Friday, 15 July, 6–9pm
An exhibition in two parts:
P!, 334 Broome St
ROOM EAST, 41 Orchard St
P! and ROOM EAST are pleased to present a summer group show, O / U, organized in collaboration with artist Aaron Gemmill. It is the first time the two galleries have worked together. The exhibition will take place in both venues, from 15 July through 20 August 2016.
The show includes 25 artists working in a variety of media, including site-specific pieces. The show’s title is shorthand for “over-under”—which may refer to the combined score of a gambling or sporting event, a complicated sexual position, or a type of double-barrelled shotgun. In a formal context, over-under suggests overprinting or undercutting. As a maneuver to override or undermine, it has political and strategic connotations. Consider the Übermensch and the underdog. Over-under juxtaposes two prepositions that exist in a dialectic: you cannot have one without the other. Divided between the two galleries, the works on view invoke spatial, hierarchical, and power relations in both overt and
Julie Ault & Martin Beck
Steven Holl, Miles Huston
Brian O’Doherty (Patrick Ireland)
Please note: During the summer, P! is open Tuesday–Fr
Social Ecologies, Curated by Greg Lindquist
December 5 - February 21, 2016
Opening Reception: Saturday December 12, 2015 4-7 PM
Rail Curatorial Projects
Gallery at Industry City / 254 36th Street, Brooklyn
The Canary Project
Laura Grace Chipley
Mierle Laderman Ukeles
Matthew C. Wilson
Aggregates, Solo Exhibition at Sikkema Jenkins & Co.
March 12 - April 11, 2015
Opening Reception: Thursday March 12, 2015 6-8 PM
Flat by Fiat, Group exhibition at LG
Flat by Fiat
January 31—February 22
Opening January 31, 5:00—9:00 PM
Publication - Studio Talks: Thinking Through Painting
STUDIO TALKS: THINKING THROUGH PAINTING
Thinking Through Painting is an on-going investigation of contemporary painting since 2009 involving numerous discussions and studio visits. The book was initiated after a discussion between Swedish artist Jan Rydén and curator Jonatan Habib Engqvist about how the contemporary institutional and theoretical art scene often seems to be uneasy, and at times even lost in its relationship to painting. Together with the artists Kristina Bength and Sigrid Sandström, they embarked on a project that would investigate painting as a way of thinking with a group composed of a curator/philosopher and three theoretically
minded painters who all have different points of departure and dissimilar painting practices. Taking the artist’s perspective as a point of departure, the book collects over 400 pages of commissioned texts and transcribed conversations between artists, theorists, curators and critics active in Stockholm, Oslo and New York.
Editors: Jan Rydén, Jonatan Habib
Engqvist, Kristina Bength, Sigrid
Graphic design: Eva Lindeberg
No. of pages: 418
Format: 148 x 210 mm
Publication date: October 2014
Thinking Though Painting, Group exhibition at the Konstakademien
Curated by Jonatan Habib Engqvist
Thinking Through Painting consists of Kristina Bength, Jonatan Habib Engqvist, Jan Rydén and Sigrid Sandström:
”We want to explore painting as way of thinking and creating meaning. We are interested in the alternation specific to painting between on the one hand concept-based thinking in language, and on the other an embodied mode of thinking through material, space, perception and painting as activity. The project is an on-going investigation since 2009 and encompasses workshops, studio visits, travel, meetings and interviews of other artists who work with painting.”
In the exhibition at the Royal Academy they have asked the three invited American artists and themselves the question: How would you visualize painting as a mode of thinking within your practice? The exhibition is divided into two periods.
After the first period the installation is renegotiated and parts of the exhibition will change.
In Studio Talks: Thinking Through Painting 2009-2014, the group has transcribed, translated and edited long conversations between the group and several of the artists, theorists and other colleagues that we have met these last four years. Among others, they have spoken to: Fredrik Liew, Kristina Jansson, Monika Marklinger, Håkan Nilsson, David Reed, Håkan Rehnberg, Hanneline Rogeberg, Susanna Slöör and Wendy White. The book also holds essays by Jonna Bornemark, Lars-Erik Hjertström Lappalainen and Marcia Sá Cavalcante Schuback. This book is not only a documentation of Thinking Through Painting, it is the hub around which the exhibition and public talks are activated.
The book will be released in conjunction to the exhibition´s opening and generate a number of seminars and talks during the exhibition period, including artist-talks and an improvised lecture on improvisation with the French philosopher Jean-Luc Nancy.
Interview with Michael Valisnky
"Marc Handelman Rethinks Image Culture"
September 19, 2014
Portland Museum of Contemporary Art / C'MON LANGUAGE: MARC HANDELMAN
The Dying Wind / A Ventriloquist's Art / Luminist Silence and the Sublime Noise of Progress
The Dying Wind / A Ventriloquist's Art / Luminist Silence and the Sublime Noise of Progress (2013) is a dual-synched PowerPoint presentation that takes the form of an automated lecture. Through three brief reflections that explore the sound works of Jack Goldstein, the inception of the talkies into the sound-film, and the visual production of silence in the Luminist landscape painters of the late 19th century, Handelman’s presentation poses questions about the translations and transmutations of the auditory into the visual, and vice-versa. Here, the presenter’s dis-embodied voice and the tethering and disconnection of images to a range of speech-acts further disrupts the common language linking and frequently reproducing the relations between speaker, author, and the objects to which one speaks. The presentation engages themes such as images and iconography that elicit or induce sound, the silencing of art with the syncing of speech to image, the disappearance of the body of the artist, auditory sequences that conjure cultural pictorial motifs, and the effects of sublimity in these aesthetic correspondences. The presentation suggests that the politics of speaking, sounding, or picturing for one another are a powerful if fraught space of medial communication and contingency.
A different version of this lecture was first presented at RECESS Activities, New York, in "Seeing Voice: The Seven-Tone Color System, a series of presentations that explored the relation between the auditory and the visual, organized by Christine Sun Kim, and R.H.E. Gordon in Conjunction with the Center for Experimental Lectures in the Spring of 2013.
Presented as part of Anna Craycroft’s C’mon Language project and the TBA:13 Festival.
List in Formation / RECESS
June 4 – June 15, 2013
41 Grand Street in Soho
Thursday June 13th, 6-8pm.
Recess is proud to present List in Formation, a sampling of works from artists who have supported Recess in the past four years. As part of a special extension of this year’s benefit, sale of these works will go towards supporting artists projects at Recess.
We will be greeting summer with a gin and tonic reception on Thursday, June 13th. RSVP to email@example.com.
List in Formation features work by:
Permutation 03.3 / P! / Marc Handelman / Arthur Ou / Peter Rostovsky
The third exhibition of P!’s six-month cycle on copying rethinks the double exposure as democratic gesture: what it means for an image to be replicated instantaneously, ad infinitum, or uniquely limited. In Peter Rostovsky’s recent digital paintings, a speculative model of unlimited distribution and accessibility for all refigures the traditional labor of underdrawing and painterly technique. Marc Handelman’s trompe-l’oeil surfaces — included here both on canvas and as a site-specific installation on glass — incorporate reflective painting grounds that recast the viewing experience as fickle and dependent on context. In Arthur Ou’s analog photographs, multiple exposures and doubled mark-making disturb the flattened, singular image. Subverting expectations of form and genre, Permutation 03.3 stages an at-odds, dialogic engagement with classical and contemporary strategies of production and distribution.
Seeing Voice The Seven-Tone Color Spectrum
Christine Sun Kim
in conjunction with the
Center for Experimental Lectures
Recess in Soho
41 Grand Street, New York, NY 10013
March 15th: 7-9 pm
7pm – R.E.H. Gordon (introduction)
7:10pm – Christine Sun Kim (green)
8pm – Tom Finkelpearl & Eugenie Tsai (indigo)
*followed by prosecco reception
March 16: 3-8 pm
3pm – Corrine Fitzpatrick (blue)
4pm – Stephen Lichty (violet)
5pm – R. Lyon (red)
6pm – Jesse Prinz (orange)
7pm – Marc Handelman (yellow)
*informal after party at Red Bench (107 Sullivan St)
On March 15 & 16, Christine Sun Kim, in collaboration with the Center for Experimental Lectures, will initiate a conversation led by seven presenters, all of whom will give a lecture without using audible voice. This is the final event in Feedback, Sun Kim’s six-part Session at Recess.
Throughout Feedback, Sun Kim, deaf since birth, has performed auditory investigations that initiate a slippage of audio into visual. Using non-vocal methods of dialogue to form collaborative vision with visitors to Recess and a cast of collaborators, the artist has created multiple aural perceptions through the use of bodies in motion, microphones, delay pedals, and more.
For the final iteration of Feedback, Isaac Newton’s alignment of the color wheel and the octave will serve as a point of departure for conversations that do not privilege audible voice. Each of the seven presenters is assigned a particular color/note.
Some presenters will use their assigned color/note as a place to begin research while others will focus on topics in and around individual voice. Each presenter will engage his or her own specific interests and varied backgrounds.
Coming from a variety of disciplines, presenters will offer research-based lectures that critically engage the notion of transmuted, embodied voice. They will employ projected images, laptops, tablets, the physical body, and other communicative tools that do not require their vocal chords.
Modernist Art from India, Radical Terrain, November 16, 2012 - April 29, 2013
Radical Terrain, the third exhibition in the series Modernist Art from India, highlights the exploration of landscape in Indian art for the generation after independence. The exhibition will also feature new work by international contemporary artists of diverse backgrounds currently working in and identifying with landscape. This is both a response to the modernist paintings on view and to work towards a nuanced conceptual understanding of what "landscape" in art is.
The modernist paintings in the exhibition suggests that landscape became a recognizable form of expression in this period as a means for artists to come to terms with the vastness and diversity of India as a newly sovereign nation. Explorations of landscape – especially rural landscapes-- by painters inadvertently paralleled official initiatives of government organizations like the Films Division of India, which commissioned many films of rural and distant regions like Orissa and Himachal Pradesh for a primary audience of citizens in urban centers. These activities reflect a country creating a new identity. Radical Terrain shows the great variety of landscapes created by artists in India after independence from British rule – including figural and abstract landscapes, specific sites and conceptual landscapes painted in a wide range of styles and from many social, political, and formal perspectives.
The contemporary interventions in the exhibition will be in various modes and media, reflecting the diversity of what landscape means to contemporary artists of various backgrounds. The artists include Lisi Raskin, Marc Handelman, Seher Shah, Janaina Tschäpe, and others.
Curated by Beth Citron
Radical Terrain / Artforum Pick
RUBIN MUSEUM OF ART
Radical Terrain / New York Times Review
ART REVIEW, South Asia Through Modernist Binoculars
‘Radical Terrain’ at the Rubin Museum of Art, Holland Cotter, December 27, 2012
Group Exhibition at Galeria Nara Roesler, San Paolo, curated by Vik Muniz, December 1, 2012 to February 23, 2013
Group Exhibition, One River Gallery, Englewood, NJ, curated by Stephen Truax, November 11 2012 - December 21 2012
The End(s) of the Library: David Horvitz How Can A Digital Be Gift?
Goethe-Institut New York, Group Exhibition/Project organized by David Horvitz, Through 12/21/12
A 20th Anniversary Celebration of the Nerman Museum's Oppenheimer Collection, September 29, 2012 - February 3, 2013