Wednesday, April 22, 2015

SEVEN: Anonymity, no longer an option

SEVEN
Anonymity, no longer an option

The BOILER
191 North 14th Street, Brooklyn, NY 11211

8 – 17 May, 2015
Opening Reception: 8 May. 6-9pm


Katarzyna KOZYRA (Postmasters) • Mark LOMBARDI (Pierogi) •
Trevor PAGLEN (Metro Pictures) • Suzanne TREISTER (P•P•O•W) •
Mark TRIBE (Momenta Art) •  Sam VAN AKEN (Ronald Feldman Fine Arts) •
Addie WAGENKNECHT (bitforms gallery) 

With special guest project:
The Prison Ship Martyr’s Monument 2.0, AKA The Snowden Statue, by Anonymous


SEVEN is proud to announce that The Snowden Statue now released from NYPD’s custody will be shown as a part of SEVEN at The Boiler exhibition Anonymity, no longer an option.

The artists are pleased The Prison Ship Martyr’s Monument 2.0, AKA The Snowden Statue is back in public view and hope it continues to inspire discussions about surveillance, patriotism, and what sacrifices must be made to maintain the freedoms that are the cornerstones of a free society.

Press Release

We are pleased to announce SEVEN, a collaborative exhibition at The Boiler including seven galleries, each presenting work by one artist. The exhibition will run from May 8—17, 2015 with an opening reception May 8th, 6–9pm.

“Anonymity, no longer an option” is the title of the 2015 edition of SEVEN. With the prevailing ubiquity of surveillance, the notion of anonymity is becoming a distant dream. With the use of technology, people everywhere, including our own government, are able to obtain details on anyone anywhere. All are vulnerable to this intrusion: sometimes willingly divulging personal information, as with Facebook and other social media platforms, smart phones, and other location devices; and at other times unwittingly as with the NSA, where we unknowingly give up personal information and privacy, in premise for our personal and national security. Edward Snowden’s actions in divulging information about these programs revealed that we are more vulnerable than we had previously thought. In this exhibition, the notion of surveillance is examined in various ways by seven artists.

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. Participating galleries in this edition of SEVEN are bitforms gallery, Metro Pictures, Momenta Art, PIEROGI, Postmasters, P•P•O•W, and Ronald Feldman Fine Arts.

Entry to SEVEN is free. The opening reception is Friday, May 8th from 6 – 9 pm.

Below is a preview of featured artists:

KATARZYNA KOZYRA (Postmasters)
Postmasters will present a series of newly released photographs from the Polish artist Katarzyna Kozyra’s important early video installation “Women’s Bathhouse” (1997).  The project was shot at a public bathhouse in Budapest, the first in a series of works made using a hidden camera. Kozyra recorded the scenes at the bathhouse as women, relaxed and unaware of the camera, enjoy their private moments. “Women’s Bathhouse,” whose radicality reverberates so strongly in today’s surveillance climate, references classical works of art like Rembrandt’s “Suzanna and the Elders” and Ingres’s “The Turkish Bath.” Which artists were more invasive? The question remains.

MARK LOMBARDI (PIEROGI)
Mark Lombardi’s graph-like drawings on paper lay bare connections of power, politics, and money within corporations and banks, and between individuals and such entities. His first drawings in this “Narrative Structures” series date from 1994, in a pre-internet era before mass (digital and video) surveillance became ubiquitous. He gathered information the old-fashioned way, by reading syndicated news articles and books on the subjects involved, and worked to expose connections and relationships — otherwise hidden in a multitude of drab texts — through a visual medium making them immediately and viscerally discernable. His relationship to surveillance is to an earlier meaning of the term: “the act of carefully watching someone or something…” through thorough research of his subjects.

TREVOR PAGLEN (Metro Pictures)
In his photographic work, Paglen seeks to make visible the typically invisible apparatus of covert government activities at black sites and, most recently, surveillance systems. Physical objects, people, and technology exist that implement these activities but they are difficult to visualize since the public is rarely, if ever, allowed to see them. Paglen’s photographs are “…useless as evidence, for the most part, but at the same time they’re a way of organizing your attention.”

“Paglen [has] said that blurriness serves both an aesthetic and an ‘allegorical’ function. It makes his images more arresting while providing a metaphor for the difficulty of uncovering the truth in an era when so much government activity is covert.” (Weiner, Jonah. The New Yorker) These often indistinct images can appear simply as clouds or other atmospheric activity in the sky but are meant to suggest “a kind of abstraction that’s associated with photographing the sky going back at least to someone like Stieglitz. It’s about taking what might be a familiar image and reinscribing it with something else.” (Paglen) On view will be “Contrails (R-4804N Restricted Airspace, NV)” and “Untitled (Gorgon Stare Surveillance Blimp).”

SUZANNE TREISTER (P•P•O•W)
P.P.O.W is pleased to present Suzanne Treister’s “Post Surveillance Art” series of poster works that navigate the post-Snowden Age. Primarily a painter through the 1980s, Treister was a pioneer in the digital/new media/web based fields from the beginning of the 1990s, developing fictional worlds and international collaborative organizations. The term “Post Surveillance Art” was coined by Treister on January 9, 2014.

…what has changed for me personally, post Snowden, is not an awareness of our new condition, but the knowledge that now almost everybody else knows…something which was clear as day if you kept your eyes open, did a bit of research… it’s restful no longer being called a conspiracy theorist…I can make this new work feeling its context may now be accessible to a broader audience, even a mainstream artworld audience, those who took little notice of the early issues of the politics of the net, net art and all that parallel, mostly invisible and often misrepresented art and theoretical history of the 1990s, and are now seeing internet related art as if for the first time in the form of the new market driven and apolitical, ‘Post-Internet Art’ movement… Dear all, this work is for you, it can be your new pinup…’sharing’ does not have to mean giving all your personal data to government security agencies via social media for free…

MARK TRIBE (Momenta Art)
Mark Tribe’s “Colusa” is an aerial landscape photograph from his “Plein Air” series. First exhibited at the Corcoran Gallery of Art in 2014, these shaped UV prints depict an edenic virtual world in which the boundaries between reality and simulation — and between representation and abstraction — have begun to blur. Landscape photography is as much about projection as it is about representation. The camera captures images, but it also projects power: not only the power to see and to discover, but also the power to picture the land, to investigate the story of its past, and to imagine its future. First made from balloons in the mid-19th century, aerial photographs are the archetypal form of surveillance. We are now living in a golden age of aerial imaging in which the patient gaze of satellites and drones never ceases to watch over us. Tribe’s work interrogates and reframes the ways in which the seductive power of landscape images has been used to defend geopolitical interests and expand territories. “Colusa” is a new kind of photograph that pictures the world without a camera. It is a ‘data image’: a picture generated by software using topographical data. It represents a real place (a wetland in Colusa county, California called Sycamore Slough), but it is in fact a simulation. Surveillance is increasingly data-driven, and new kinds of images are emerging as the real and the virtual converge.

ADDIE WAGENKNECHT (bitforms gallery)
bitforms gallery will present two installations by Addie Wagenknecht, an American artist based in Austria who builds objects that contemplate power, beauty and networked consciousness. Playing with the contemporary anxieties of post-Snowden information culture, she investigates the cultural connection between technology and social interaction. “Kilohydra 2” is a wall-mounted sculpture that intercepts and logs anonymous data captured from surrounding wifi signals. Part of the series “Data and Dragons,” it features an assembly of custom printed circuit boards and Ethernet cabling. The work is dark and austere, manifesting “the cloud,” social networks, data, leaks, and that which forms social capital into a single object. Passively interactive, its behavior is driven by custom hardware and packet sniffers, which capture all the live data passing through the area. The information is then visualized via surface mounted LEDs, through a series of blinking patterns.

In “-r-xr-xr-x,” Wagenknecht applies gold leaf to a pair of closed-circuit television cameras. The readymade video system is disabled, however, which transforms the function of this object into a trophy, rather than a tool. It’s ostentatious adornment draws attention to this presence, symbolizing the structures of control, and the network of permissions that are allowed to specific users and groups — be they security guards, art world insiders, or simply persons opening a file. Wagenknecht’s ‘dummy cameras’ merely appear to be engaged and functioning, as indicated by the flashing of red lights that are battery-powered. “-r-xr-xr-x” evokes safety and voyeurism, as well as the authoritarian gaze of an exclusive viewer, as it transforms an ubiquitous icon of surveillance, the CCTV.

SAM VAN AKEN (Ronald Feldman Fine Arts)
“Myshkin’s Idiot Light” attempts to create auras, more specifically the hallucinatory perceptual disturbance known as scintillating scotoma that occur before a change in mental state. Described by Dostoevsky’s character Prince Myshkin in his book, The Idiot, they are the “dazzling light” that induces “sweet bliss” and “inconceivable joy.” Appearing here as blinking lights that flash at the same rate as the synapsis in the brain, they create afterimages and blind spots, the noise, the sweet bliss of forgetting that interrupts perception, observation, surveillance. (Please note: This work features flickering light effects that might trigger reactions in people with seizure disorders.)

HOURS:
Friday, May 8 (Opening Reception):  6–9 pm
Saturday — Sunday May 9 — 10: Noon – 6pm
Wednesday – Sunday May 13 – 17: Noon – 6pm
And by appointment



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

For press inquiries, please contact Susan Swenson at susan@pierogi2000.com
Mark Lombardi (PIEROGI), “World Finance Corporation and Associates c. 1970-84, Miami-Ajman-Bogota-Caracas (7th version),” 1999, Graphite on paper, 60 x 78 inches



Katarzyna Kozyra (Postmasters), "Women's Bathhouse," 1997/2015, Color photograph, 30 x 40 cm, 
Ed. of 5 + AP


Katarzyna Kozyra (Postmasters), "Women's Bathhouse," 1997/2015, Color photograph, 30 x 40 cm, 
Ed. of 5 + AP


Trevor Paglen (Metro Pictures), Contrails (R-4808N Restricted Airspace, NV), 2012, C-print, 48 x 60 inches, 
Ed. 1 of 5 + 2AP

 Trevor Paglen (Metro Pictures), Untitled (Gorgon Stare Surveillance Blimp), 2012, C-print, 48 x 60 inches, 
Ed. 1 of 5 + 2AP
Sam Van Aken (Ronald Feldman Fine Arts), “Myshkin’s Idiot Light,” 2015, Mixed media, 96 inches diameter, Edition 1 of 3. Photo credit: Casey Dorobek


Suzanne Treister (P•P•O•W), Post Surveillance Art, 2014, 20 Archival giclee prints on Hahnemuhle Bamboo paper, 11.75 x 16.5 inches each, Ed. 2 of 25


Suzanne Treister (P•P•O•W), "NSA on Drugs" from "Post Surveillance Art," 2014, 20 Archival giclee prints on Hahnemuhle Bamboo paper, 11.75 x 16.5 inches each, Ed. 2 of 25


Suzanne Treister (P•P•O•W), "Tunnel of Love" from "Post Surveillance Art," 2014, 20 Archival giclee prints on Hahnemuhle Bamboo paper, 11.75 x 16.5 inches each, Ed. 2 of 25

Suzanne Treister (P•P•O•W), "NSA Sex Bomb" from "Post Surveillance Art," 2014, 20 Archival giclee prints on Hahnemuhle Bamboo paper, 11.75 x 16.5 inches each, Ed. 2 of 25

Mark Tribe (Momenta Art), Colusa, 2014, UV Print on Dibond, Ed. 2 of 3


Addie Wagenknecht (bitforms gallery), Kilohydra 2, 2015, Custom designed PCB boards, ethernet patch cables, 80/20 aluminum, 31.5 x 39.25 inches
Photo credit: John Berens


Addie Wagenknecht (bitforms gallery)-r-rx-rx-x, 2014, Two surveillance cameras, gold leaf, Installation dimensions variable, 10 x 5.5 x 18.5 inches each
Photo credit: John Berens


Installation view of SEVEN: Anonymity, no longer an option


Installation view of SEVEN: Anonymity, no longer an option


Installation view of SEVEN: Anonymity, no longer an option


Installation view of SEVEN: Anonymity, no longer an option



Thursday, April 17, 2014

SEVEN / VIDEO


SEVEN / VIDEO
With a Special Tribute to Hudson

The BOILER
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





http://www.seven-miami.com

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:

MELANIE BONAJO (P•P•O•W)  
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 (Momenta)  
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.
WILLIAM LAMSON (Pierogi)  
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.
RAFAËL ROZENDAAL (Postmasters)
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., www.nothingeverhappens.com, www.openthiswindow.com). 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 info@seven-miami.com or contact Joe Amrhein at Pierogi Gallery, 718-599-2144.

HOURS:
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 susan@pierogi2000.com or Magdalena Sawon at postmasters@thing.net










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), www.flyingfrying.com/black, 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