Thursday, April 17, 2014


With a Special Tribute to Hudson

191 North 14th Street, Brooklyn, NY 11211

Friday, May 2nd – Sunday May 11th, 2014
Opening Opening: Friday, May 2nd, 6-9pm
The Boiler be open late for Frieze night, May 9th, 6-9pm

MELANIE BONAJO (PPOW)  •  DANIEL CANOGAR (bitforms gallery)  • RICO GATSON (Ronald Feldman Fine Arts)  •  KATE GILMORE (David Castillo)  •  WOJCIECH GILEWICZ (Momenta)  •  WILLIAM LAMSON (Pierogi)  •  RAFAËL ROZENDAAL (Postmasters)

We are pleased to announce SEVEN / VIDEO, a collaborative exhibition at The Boiler including seven galleries, each presenting video work by one artist. The exhibition will run from 2 — 11 May. Last year’s edition of seven @ SEVEN included feature, inc. a gallery run by our friend and fellow dealer, Hudson. Hudson passed away in February and this year’s SEVEN will include a special tribute to him. We are privileged to be able to present videos of his performances, “Poodle Theater (Part 1 and 2) from 1979 / 1980. Our special thanks to Jimi Dams from envoy enterprises for making this possible.

Launched in 2010 by seven galleries from New York and London, SEVEN is a unique initiative committed to presenting artworks on their own terms and providing an intimate, personal way to engage the viewer. An emphasis on cooperation rather than competition is a founding principle of SEVEN that puts the art viewing experience ahead of other considerations. Since its inception, SEVEN has evolved by inviting new galleries and guests in both independent and institutional locations, most commonly in Miami and recently in Dallas. Participating galleries in SEVEN / VIDEO are Momenta, David Castillo, bitforms gallery, Pierogi, Postmasters, P•P•O•W, and Ronald Feldman Fine Arts.

SEVEN / VIDEO will present the work of one artist from each of the participating galleries and will feature works in the medium of video. Entry to SEVEN / VIDEO is free. The opening reception is Friday, May 2nd from 6 – 9 pm.
Below is a preview of featured artists:

P.P.O.W is pleased to present Melanie Bonajo’s Pee on Presidents, a collection of over 500 photographs of urinating girls taken by Bonajo between 1998 and 2013, empowering vulnerable moments of women searching for a hiding place (or not) to pee in public. The accompanying music is "Pee on Presidents," written and performed by ZAZAZOZO, Bonajo's band with Joseph Marzolla. It is a protest song that ridicules patterns of hierarchy, sexism, bureaucracy and patriarchal structures in society. Dutch artist, Melanie Bonajo looks at paradoxes inherent in our future-based ideas of comfort. Through her videos, performances, photographs and architectural sculptures, Bonajo examines subjects related to progress that remove from the individual a sense of belonging and looks at how technological advances and commodity-based pleasures increase feelings of alienation within the individual. Captivated by concepts of the divine, she explores the spiritual emptiness of her generation, examines peoples’ shifting relationship with nature and tries to understand existential questions by looking at our domestic situation, idea’s around classification, concepts of home, feminism and attitudes towards value. Bonajo’s work has been exhibited in major art institutions internationally and her works has been published widely.
DANIEL CANOGAR (bitforms gallery)  
bitforms gallery will feature new work by Daniel Canogar (b. 1964, Madrid) that is drawn from Small Data, his latest series, which explores the life and death of consumer electronics. Comprised of precisely mapped overhead projections and salvaged devices, Small Data uses light to reanimate found objects such as crushed computers, scanners, printers, old cell phones and hard discs. Propped on shelves, these decaying technologies are presented as contemporary still lives, insidious reminders of our own aging process and inevitable expiration date. As tools for communication with the outside world, and as repositories for so many of our memories, we acquire a very intimate relationship with technological devices. Haunted by these pasts, Canogar attempts to reveal the memories, both personal and collective, that seem trapped within, mementos of a time when they had fully functional lives and served us well.
KATE GILMORE (David Castillo)
Kate Gilmore’s, Love 'em, Leave 'em (2013), presents a 10-foot tall structure which Gilmore repeatedly climbs, carrying hundreds of vases and pots filled with paint. Dropped from above, the vessels shatter and splatter into a cohesive composition. The clean, white, monumental structure refers to Minimalist forms, while the explosive action and dripping paint allude to Abstract Expressionism. Humorously and destructively engaging these modernist tropes, Gilmore challenges their heroic myths and the gendered stereotypes of art making in general.
Wojciech Gilewicz’ trompe l’oeil paintings imitate and cover flat elements of the cityscape. His work injects painting into the contemporary dialog of "social engagement", humorously countering the criticism that painting is disengaged from the world. Shanghai, included in this exhibition, features the artist working at a refuse dump in China. He adjusts his sensitivity to the lowest-level manifestation of urban imagery by veiling the surface details with their painting look-alikes, following his prior artistic method. The same project repeated in subsequent locations acquires an ethnographic dimension and reveals fractures in the urban tissue; in New York beforehand and now in Shanghai.
Pierogi will feature a new video by William Lamson, Untitled (White Sands, New Mexico). In this work the artist walks in a giant circle through a sand storm as the camera slowly pans with him, creating an endless loop within an undefined field. The artist appears as a small figure moving with effort through an unforgiving and uniform landscape. All that can be heard is the harsh wind. In this, Lamson demonstrates the real time relationship between himself and the environment. His video works often find him exploring the possibilities of natural forces just outside his control (both in the natural world and in his studio). Lamson was born in Arlington, Virginia and currently lives and works in Brooklyn, NY. His work has appeared in ArtForum, Frieze, New York Times, New Yorker, Harpers and the Village Voice. Lamson is a 2014 recipient of a Guggenheim Fellowship Award.
Postmasters Gallery will present a brand new website by a Dutch-Brasilian artist Rafaël Rozendaal. Born in 1980, Rozendaal uses the Internet as his canvas. Spread out over a vast network of domain names, his work attracts a large online audience of over 40 million visits per year. He explores the electronic screen as a pictorial space, reverse engineering reality into condensed bits, to create works that reside somewhere between painting and animation. Rozendaal's websites (of which there is almost one hundred online now) are individual works of art where the domain name serves as the title (e.g.,, Though collectors may buy his websites, Rozendaal stipulates in his Art Website Sales Contract that the sites must remain on public view and the owner must renew the domain registration annually.  It's the virtual equivalent of owning a sculpture in a public park, he says. There's a point of pride of being the one who commissioned or paid for it. And the site still identifies the owner.
RICO GATSON (Ronald Feldman Fine Arts)
Rico Gatson’s The Promise of Light is partly inspired by the book, The Warmth of Other Suns by Isabel Wilkerson, which chronicles the black migration out of the American South spanning World War I through the early 1970’s. Gatson’s family undertook this journey, moving from Georgia to California in the late 60’s for the promise of a new beginning. The “promise” is a reference to the intrinsic optimism of the distinctive California light, while alternately referencing the universal struggle inherent in striving toward idealized promise. Gatson’s video projection combines footage of atmospheric light and sound layered upon graphic historic imagery. The light in the video is transitional, alluding to journey, transformation, and the passage of time.
For more information, please email us at or contact Joe Amrhein at Pierogi Gallery, 718-599-2144.

Friday, May 2 (opening):  6-9 pm
Saturday - Sunday May 3 - 4: 12 – 6pm
Tuesday – Sunday May 6 – 11: 12 – 6pm

VIEW MAPThe Boiler 191 N. 14th St. Brooklyn, NY

For press inquiries, please contact Susan Swenson at or Magdalena Sawon at

Daniel Canogar (bitforms), PCB, 2014, Discarded circuit board, wood, projector, multimedia player, video loop: 1:55 min, 35.4 x 23.6 inches

Daniel Canogar (bitforms), PCB, 2014, Discarded scanner parts, wood, projector, multimedia player, video loop: 3:21 min, 53 x 23.6 x 15 inches

Kate Gilmore (David Castillo), Love 'Em, Leave 'Em, 2013, Sculptural installation and high definition video with sound, dimensions variable

Rico Gatson (Ronald Feldman Fine Arts), The Promise of Light, 2013, Video, Duration: 8:00 min

 Wojciech Gilewicz (Momenta), Shanghai, 2008, Video (DVD), Duration: 2:48 min (total duration 54:32 min), dimensions variable

William Lamson (Pierogi), Untitled (White Sands, New Mexico), 2013, HD Video, Duration: 16:50 min

Rafaël Rozendaal (Postmasters),, 2014, Website

Hudson, Poodle Theater (part 1 and 2), 1979-80, Documented performance

Melanie Bonajo (P•P•O•W), Pee on Presidents, 1998-2013, Duration 6:00 minutes

Tuesday, April 30, 2013

seven @ SEVEN 2 at the Boiler

seven @ SEVEN 2

191 North 14th Street, Brooklyn, NY 11211

Friday, May 10th – Sunday June 9th, 2013
Opening Party: Friday, May 10th, 6-9pm


Expanding its model of a collaborative platform for presenting and experiencing contemporary art, SEVEN will hold its second New York area exhibition in Williamsburg, Brooklyn at The Boiler, opening May 10, 2013. Launched in 2010 by seven galleries from New York and London, SEVEN is a unique initiative committed to presenting artworks on their own terms and providing an intimate, personal way to engage the viewer. Since its inception, SEVEN has evolved by inviting new galleries and guests in both independent and institutional locations. SEVEN was recently invited to exhibit within the Dallas Contemporary Art Museum. Participating galleries in seven @ SEVEN 2 are Feature Inc., BravinLee programs, Pierogi, Postmasters, P•P•O•W, Momenta Art, and Ronald Feldman Fine Arts, five of which are original participants.

Seven @ SEVEN 2 will present the work of one artist from each of the participating galleries and will feature installations, paintings and sculptures in a co-curated, dynamic presentation. This emphasis on cooperation rather than competition is a founding principle of SEVEN that truly puts the art viewing experience ahead of all other considerations.

Entry to seven @ SEVEN is free. The opening reception is Friday, May 10th from 6 – 9 pm in conjunction with Williamsburg 2nd Friday.
Below is a preview of highlighted artists:

Feature Inc. will present paintings by Mamie Holst. Holst distances her subject matter with the use of a limited palette of black, white, and gray. This helps the paintings close down on notions of illustration and, as well, expand out into diagrams. In the midst of all that, there are moments in the paintings that open the door to science fiction. Yet this is countered with a big breath of non-fiction as much of her imagery is gleaned from her experiences with Chronic Fatigue and Immune Dysfunction Syndrome, and is so noted in the titles. The heavier textures, which are the most recent development in the work, bring a funkier and more eccentric expressiveness to the table that allows this work to feel more urgent, personal, and singular. Mamie Holst began exhibiting with Feature Inc. in 2000, and has had four one-person exhibitions with the gallery. Born in Gainesville, FL, she has a MFA from School of Visual Arts (1987) and currently lives and works in Fort Myers, FL.

BravinLee programs will present Table, by Fabian Marcaccio. Marcaccio’s structural canvas work integrates photography, painting and sculpture.  The Table-top contains items likely to be present on a table in a secret interrogation chamber. The essential cruelty of the evil premise is explored obliquely through the cluttered banality of an inquisitor’s work surface.  The table is illuminated by a single light bulb hanging down from the Boiler’s 30 foot ceiling.  The creepy beauty and black-box brutality of The Boiler’s interior amplifies the subject matter of Table existing in a clandestine and horrific chamber.  Fabian Marcaccio recently had one person shows at CAAM in the Canary Islands, The Museum Lehmbruck, in Duisburg, Germany, The Kunstmuseen and the Museum Haus Esters, both in Krefeld, Germany.  In conjunction with the Krefeld exhibitions, a book on Marcaccio’s rope paintings titled Some USA Stories was published, edited by Martin Hentschel.

Momenta Art will present a selection of work from Yoko Inoue’s Mandala Flea Market Mutants: Pop Protocol and the Seven Transformations of Good-luck National Defense Cats (Smack Mellon, Brooklyn 2012). This takes the form of a multi-disciplinary installation that affects and aestheticizes the appearances and mechanics of a marketplace, materially consisting of excessive accumulations of banal objects, commoditized sacred figures, or good luck icons that are individually hand cast and manipulated in porcelain and stoneware. Inoue is a multi-disciplinary artist whose work explores the commoditization of cultural values and assimilation and identity issues in the form of installation and public intervention performance art. Originally from Kyoto, Japan, Inoue earned an MFA from Hunter College. Her work has been shown at Brooklyn Museum, Sculpture Center, Rubin Museum, Momenta Art and Art in General in New York and at other international and national venues.

Pierogi will present the most recent in Kim Jones’ ongoing war drawing series, a five by ten foot graphite on oilcloth work. Jones became known early on for his performance persona, ‘Mudman,’ and could be seen walking the streets of Los Angeles and Venice, CA during the 1970s, and then New York City and New York’s subway system during the 1980s, and most recently in 2012. Throughout this time he was also developing drawings and paintings on paper. His works on paper, some consisting of intricate graphite drawings involving ‘X’ and ‘O’ figures and erasures indicating movement of different forces are referred to as ‘war drawings.’ Over the years, Jones has developed a language of materials and marks: sticks, mud, twine, rats, and ‘X’ and ‘O’ symbols. Jones’ work was the subject of a comprehensive traveling retrospective, Mudman: The Odyssey of Kim Jones, and was included in numerous Pacific Standard Time exhibitions in the LA area in 2012, and has been included in exhibitions at The Museum of Modern Art (NYC), The New Museum (NYC), among others.

Postmasters Gallery will present Glissement (1984) — a large painting by David Diao from his seminal series based on the image of Malevich's installation in "0,10" exhibition in Petrograd (1915). Bold, yet painterly, following the Constructivists' palette of black, red and white, Glissement was a key painting in Diao's first show with Postmasters in 1985 in the East Village. It marked his return to painting after a five-year hiatus. It has not been exhibited in the US since. For over 40 years Diao has nurtured a practice which looks critically at painting and its history. He questions how value is assigned to art and artists, and often implicates himself in the contradictions of this process.

P·P·O·W will present Hunter Reynolds’ photo-weaving We Die in the Streets, 2011, and Mummification Performance Skin, 2000. For over twenty years Reynolds has been using photography, performance and installation to express his experience as an HIV positive gay man. His work addresses issues of gender, identity, socio-politics, sexual histories, mourning, loss, survival, hope and healing. We Die in the Streets is part of Reynolds’ Survival AIDS series, which is comprised of photographic grid-collages of scanned newspaper clippings that Reynolds began collecting between 1989 and 1993. A reference to Reynolds’ Mummification performances can be seen in the center of this composition and also on the floor of the installation. The ‘skins’ are made from layers of plastic and brightly colored tape, cut away and reconfigured as prevailing reminders of the many re-embodiments of the artist over time.  

Hunter Reynolds was born in 1959 in Rochester, Minnesota. His work is held in private and public collections including the Yale University Art Gallery, The Art Institute of Chicago, and The Addison Gallery of American Art.  The Fales Library and Special Collections/New York University currently maintains the archives of Hunter Reynolds for its Downtown Collection. 

Ronald Feldman Fine Arts will present works by Bruce Pearson. The paintings in the Encyclopedia Series are "made up of hundreds of irregularly shaped, diversely colored tesserae that blanket the surface of the painting. […] No color is repeated within the painting. The overlaid elements include the phrase of the title (a kind of found poem Pearson assembled by underlining phrases in a newspaper story)" and images taken from various 18th and 19th century iconographic encyclopedias.  (from a review by Raphael Rubinstein, Art in America, Nov. 2003)

Bruce Pearson is an artist living in New York. His work is in the collection of the Museum of Modern Art, the Whitney Museum, and the Brooklyn Museum, among others. He will be having an upcoming show at Ronald Feldman Fine Arts in the fall of this year. 

For more information, please email us at or contact Joe Amrhein at Pierogi Gallery,

Friday, May 10 (opening):  6-9 pm
Saturday – Sunday May 11-12:   12-6 pm
Thursday – Sunday May 16-19: 12-6 pm
Thursday – Sunday May 23-26: 12-6 pm
Thursday – Sunday May 30-June 2: 12-6pm
Thursday – Sunday June 7-9: 12-6pm

VIEW MAP- The Boiler 191 North 14th St. Brooklyn, NY

For press inquiries, please contact Wendy Olsoff at, Magdalena Sawon

Hyperallergic Mentions SEVEN in their Guide to Frieze Week

David Diao, "Glissement," 1984, Acrylic paint on canvas, 70 x 100 inches
(Postmasters Gallery)

Mamie Holst, "Landscape Before Dying (Exiting)," 2009-11, Acrylic paint on canvas, 72 x 72 inches 
(Feature Inc)

Mamie Holst, "Landscape Before Dying (Elsewhere)," 2009-11, Acrylic paint on canvas, 69 x 84 inches 
(Feature Inc)

Kim Jones, "Untitled (War Drawing)," 2013, Graphite on oilcloth, 52 x 119 inches 

Fabian Marcaccio, "Table," 2008-2013, Structuralized canvas, paint, silicone, 42 x 64 x 38 inches
(BravinLee programs)

Bruce Pearson, "Encyclopedia IV," 2009, Oil and acrylic on Styrofoam, 90.25 x 70.5 x 4.5 inches
(Ronald Feldman Fine Arts)

Hunter Reynolds, "We die in the street," 2011, C-Prints and thread, 96 x 120 inches

Yoko Inoue, Mandala Flea Market Mutants: Pop Protocol and the Seven Transformations of Good-luck National Defense Cats (Detail)

Installation views: