OSMOS

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Sam Falls: Cross Country (driving, flying, listening) September 8 - October 27, 2017

OSMOS Address 50 E 1st Street New York NY 10003

OSMOS is pleased to present Sam Falls: Cross Country (driving, flying, listening), a multi-media video installation work. This new work by Sam Falls, a self-described itinerant American artist who passed through New York last Spring to speak about Robert Irwin at Dia Center for the Arts and sign books at Printed Matter in Chelsea, returns this Fall to install his exhibition at OSMOS in the East Village, as well as a gallery show at Eva Presenhuber in NoHo. Both open Friday, September 8, 2017.  

Composed of 3 video projections, Cross Country (driving, flying, listening), recreates the experience of recollection, a cogent narrative that refuses to be a story, instead allowing us to liberate the simulations. Certainly what we see and what we hear is real –- it’s all real, as it was recorded, but what it says is another matter. The matter of a meaningful experience is what we bring to it.

In the artist’s words: When I was five in 1989 my mom packed up our red Subaru wagon and we drove across the country, from California to Vermont. I don’t remember much: I remember waving goodbye to my dad and everybody crying but me, I remember seeing snow for the first time, probably as we passed through the Rockies. I remember noticing bats at dusk and thinking they were all bloodsuckers. I remember hearing an owl’s “who-who” like a ghost in the woods, unsuspecting how permanent my shift from urban life to rural was about to become. Most of all though I remember laying in the back seat watching the telephone and power lines run like two jump ropes as they swung pole to pole parallel to the road. Watching the lines move was mesmerizing and consistent - it was comforting - it unified the vast country I was traversing for the first time like a string tied to my finger to lead me back home. The literal metaphor of phone lines connecting people is true, but just the physical presence of the lines all the way in Vermont, where everything looked and felt different, was strangely important - that I at least recognized something - I wasn’t totally lost.

This exhibition is the last in a year-long series that looks back to the 20 years OSMOS has been in existence. It also marks a new chapter for OSMOS as Sam Falls was the first artist-in-residence at OSMOS Station, a new extension of OSMOS in the Catskills.  

Sam Falls was born in 1984 in San Diego, CA. He had solo exhibitions at the Public Art Fund in New York, NY (2014), at Pomona College, CA (2014), at the Ballroom Marfa, TX (2015), The Kitchen, New York (2015) and the Giuliani Foundation, Rome, Italy (2015), Hannah Hoffmann Gallery Los Angeles (2016). In Spring 2018 Sam Falls will have a solo exhibition at MART Galleria Civica di Arte Contemporanea di Trento, Italy.

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OSMOS Magazine Issue 12 $25 ORDER

Issue 13 of OSMOS Magazine includes an essay by contributing editor Tom McDonough on Pat O’Neill, Siona Wilson feeling unease when viewing the unsparing work of Jo Spence, MoMA curator Kelly Sidley on conceptual photographer Bing Wright, an intimate look at artist Sam Falls by editor Cay Sophie Rabinowitz, a portfolio of images by Bela Borsodi as introduced by Christian Rattemeyer, Lari Pittman as introduced by his gallerist Isha Welsh, Drew Sawyer on Carmen Winant, a selection of works by Maynard Monrow by Kenta Murakami, and Ilona Szwarc’s series Rodeo Girls, all enclosed within an iconic cover featuring The Supremes landing in London to film a televised performance.

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OSMOS Magazine Issue 12 $25 ORDER

Issue 12 of OSMOS Magazine includes an essay by Roberto Ohrt on the overlooked political dimensions of Martin Kippenberger’s practice, the studio philosophy of Tom Sachs as told through super fan Martin Sona’s Instagram feed, an essay by contributing editor Tom McDonough on Baseera Khan, Sara Cwynar introduced by her gallerists Michael Gillespie and John Thomson, a short story Living Doll by professional pervert Mathew Licht, portrait photographer Ted Partin interviewed by Wardell Milan, a selection of works by Paul Mpagi Sepuya introduced by Kenta Murakami, writer Sabrina Tamar on Peter Funch’s series The Imperfect Atlas, a portfolio of images by William Eric Brown introduced by Christian Rattemeyer, a conversation between Berlin-based record store and gallery for experiemental music gelbe MUSIK founder Ursula Block and curators Fiona McGovern and Justin Luke, Czech artist Marie Tomanova as introduced by Ksenia Nouril, a reflection on the oeuvre of Lincoln Tobier by Simon Leung, and a series of timely images taken the day after Nixon resigned as the 37th president of the United States by Alex Harsley as introduced by Lynne Tillman, all enclosed within a cover by conceptual photographer Bing Wright. 

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Duane Michals: Anti-Trump Agitprop June 6 - August 1, 2017

OSMOS Address 50 E 1st Street New York NY 10003

OSMOS is honored to present a new body of work by the renowned American artist Duane Michals. This series includes Michals’ “Anti-Trump, Agitprop” sculptures and videos – work in media the artist has never shown before.

Since the 1970s Duane Michals has been best known for his photographic narratives mixing autobiography with history. His portrayals are as intimate as they are hyperbolic, especially when the artist assumes character roles for the camera. Provoking political change by way of total theater, Michals’ productions enact truth in an age of fake-news.

Over the last half-century, Michals has resisted the notion that photography is limited to the act of reproduction. Through “intrusions” on the image, whether in the form of text, multiple exposures, or paint, Michals has consistently reminded his viewers to not accept things as they appear. The resulting discursive image does not only show, but more importantly ask the viewer to question what is not shown.

While Duane Michals has previously stated that an artist’s political aspirations are “impotent,” this new body of work suggests a reconsideration of the artist’s role in speaking truth to power. Taking inspiration from Vladmir Tatlin’s Monument to the Third International (1919-1920) and employing the vocabulary of El Lissitzky's agitprop signs and Mikhail Plaksin's sculptures, Michals parodies the idiotic and absurd truisms pronounced by president Donald Trump to remind his audience to look a little deeper and to resist easy compliance

On June 21, 2017 there will be a reading and artist conversation with Duane Michals and Tilo Schulz at 6:30pm.

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Ursula Block’s gelbe MUSIK April 27 - June 4, 2017

OSMOS Address 50 E 1st Street New York NY 10003

In 1981 gelbe MUSIK opened its doors at Schaperstr. 11 in Wilmersdorf, West-Berlin, with a show dedicated to graphic scores by contemporary avant-garde artists from Europe and the United States. Until 2014 Ursula Block programed gelbe MUSIK as a record store and gallery. It now lives on as the Broken Music Archive.

Ursula Block has hosted more than ninety shows featuring artists and composers such as Maryanne Amacher, John Cage, Henning Christiansen, Milan Knížák, Christina Kubisch, Nam June Paik, and Akio Suzuki. Throughout the 1980s she co-curated several influential exhibitions dedicated to artist’s records, among them Broken Music, with Michael Glasmeier, and Extended Play, with Christian Marclay. This exhibition at OSMOS entitled, Ursula Block’s gelbe MUSIK – 33 Years in Review, focuses on objects, records, and scores that are significant to Block and played a major role in the development of gelbe MUSIK. Last year an edition of this exhibition was installed at Mathew Gallery in Berlin, which is located down the street from gelbe MUSIK.

For more than 30 years gelbe MUSIK existed as a unique place for the intersection of art and music -- a record store and gallery where musicians, composers, visual artists and choreographers from all over the world could gather. Ideas were exchanged and friendships nurtured. Emphasizing the way small and independent art projects can evolve to support an international community, this project comes out of local and international alliances. Creating a musical loop, the exhibition was initiated by Fiona McGovern from Berlin, where OSMOS was founded 20 years ago, in collaboration with our neighbor, Justin Luke from Audio Visual Arts located down the street from OSMOS. In addition to the exhibition, there will be a listening session with Ursula Block and a special film screening on experimental music at the Goethe-Institut New York.

This exhibition is part of a year-long series that reflects on the 20 years OSMOS has been in existence since its founding in Berlin in 1997. OSMOS Address in New York is a project space for art gatherings and exhibitions in the East Village storefront that was once a saloon frequented by Emma Goldman and other radicals. In the 19th Century, the space in back was the printing office for their German language newspaper; it is now the editorial office for OSMOS Magazine and OSMOS Books.

Concurrent Programming: April 26, 2017 / 7pm – gelbe MUSIK Listening Session with Ursula Block Co-presented with the Goethe-Institut May 17, 2017 / 7pm – Experimental Music On Film Co-presented with the Goethe-Institut

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Martin Kippenberger: Twenty Years Later March 7 - April 21, 2017

OSMOS Address 50 E 1st Street New York NY 10003

Commemorating the 20th anniversary of Martin Kippenberger's passing and for the first time on view in New York, a recreation of the artist's book vitrine as it was installed in Candidature à une rétrospective at the Centre George Pompidou in Paris in 1993. A personal letter recalls the installation: “As is so often the case with Martin Kippenberger, there must also be a reference to the place, which for the Paris exhibition, was slightly exaggerated with the most banal stereotypes. In this case, for the poster and for the catalog, the typography was of the metro and for the exhibition space, Paris itself became a ‘city of showcases’ and love. On the central axis of the exhibition rooms was a continuous series of vitrines, in which all of his books and catalogs, as well as invitation cards, posters and other print matter could be presented. The 16 meter long partition penetrated the exhibition architecture, so that the real showcase happened in a third room,” the back room, which contained the artists erotic collection, partitioned by various curtains. The installation at OSMOS is a replica that has been realized with photography by Andrea Stappert in collaboration with 8. Salon in Hamburg. Co-curators, Cay-Sophie Rabinowitz, Roberto Ohrt and Axel Heil have assembled a special collection of drawings, print editions, ephemera, sculpture and performance documents spanning Martin Kippenberger's prolific and provocative artistic production. To this day, Kippinberger inspires and haunts us with his insouciant genius.

Martin Kippenberger: Twenty Years Later is part of a year-long series of projects that reflect on the 20 years OSMOS has been in existence since its’ founding in Berlin in 1997. OSMOS Address in New York is a project space for art gatherings and exhibitions in the East Village storefront that was once a saloon frequented by Emma Goldman and other radicals. In the 19th Century, the space in back was the printing office for their German language newspaper; and it is now the editorial office for OSMOS Magazine and OSMOS Books.

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Leslie Hewitt Riffs on Real Time (2016) Traditional Chromogenic Print 35 x 27 in Edition of 10 Price upon request

This edition was produced by OSMOS in collaboration with Leslie Hewitt to support her forthcoming monograph, due to be released in Spring 2017.  

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Mathieu Mercier: Neither / Nor Feb 9 - March 5, 2017

OSMOS Address 50 E 1st Street New York NY 10003

Mathieu Mercier: Neither / Nor is a survey of work by the French artist Mathieu Mercier (born 1970) curated by Cay Sophie Rabinowitz. It will be on view until March 7, 2017 at OSMOS Address, 50 East First Street in Manhattan.

Mathieu Mercier’s work operates somewhat whimsically between Walter Benjamin’s revolutionary exegesis and Duchampian transubstantiation. His art maneuvers to question a common object’s potential for authenticity in times of evident over-production while contrarily conferring value back onto such objects. This juxtaposition of multiple systems of representation is repeated throughout Mercier’s work, fluidly incorporating and opposing visual frameworks from art history, design, and architecture.

For his Pantone series (2011) Mercier scanned flowers from parks he frequents throughout his travels arranged next to Pantone color cards of a comparable palette. Foliage references the long history of the still life genre while the color card wryly points to an aspirational impotency in the aggressively marketed Color Matching System.  

In a previous work, Sublimation (candle/chromatic circle J. Itten) (2011), for example, a store-bought candle contends with a sublimation print of the Itten color wheel. Presented reverentially on a pristine pedestal in the gallery, the abstract device cannot help but fall flat in comparison to a romantic flickering flame, yet it surreptitiously gains esoteric aura from the candle’s implied memento mori.

This is the first in a year-long series of projects that reflect on the 20 years OSMOS has been in existence. Mathieu Mercier was introduced to OSMOS by his professor, Anne-Marie Jugnet, who was one of the first artists to install her work (a projection entitled oh, oh, oh, 1997) in the industrial space that Berlin co-founders, Joachim Abrell and Christian Rattemeyer, claimed for OSMOS in 1997.

In 2003, Mathieu Mercier was honored with the prestigious Marcel Duchamp award. His solo museum shows include: Villa Merkel, Germany (2014); Kunstmuseum St Gallen, Switzerland (2014); Musée d’Art Moderne de la Ville de Paris, France (2007); Centre Georges Pompidou, Paris, France (2003); Le Crédac, Centre d’Art Contemporain d’Ivry, France (2012); Fondation d’Entreprise Ricard, Paris, France (2012); and Kunsthalle Nürmberg, Germany (2008), u.a. . OSMOS thanks Galerie Mehdi Chouakri and Paul Kasmin Gallery for their collaboration.

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All Fine Figures Jan 30 - Feb 6, 2016

Artists: Mike Bailey-Gates, Payton Barronian, Claire Christerson, Logan Jackson, Peter Mix, Momo Meow, Ser Serpas. Curated by Kenta Murakami.

OSMOS Address 50 E 1st Street New York NY 10003

All Fine Figures is an exhibition featuring the work of young artists familiar with a world in which meaning is arbitrary and signifiers can be employed to almost any means. In a “Ce n'est pas une pipe” moment, the figure becomes not an indexical representation of something, but rather invariably fetishistic or familiar -  an empty glyph ready to be imbued with meaning or a blank wall to be projected upon.

In a “If you think this world is bad, you should see some of the other ones" kind of way, this relativism can at times beget optimism. If the superhero found in Peter Mix’s paintings is recognized to be the inadequate man that he is, or if Claire Christerson’s freakish dolls are the norm, then perhaps the ideological structures that institute so much oppression might be malleable after all. Not to say a post-anything world is better off, but perhaps it gives us room to grow.

Michael Bailey-Gates responds by developing a language of his own, while Logan Jackson and Payton Barronian appropriate the tropes and slickness of commercial photography and video production. There seems to be recognition among these artists that truth is always up for revision. But should we exploit this slippage and project ourselves into hegemony -- wealth, power, desirability, or whatever else is deemed aspirational? Or should we abandon language all together? Is silence golden or merely gilded? Ser Serpas’ anthropomorphic assemblages and Momo Gordon’s phantasmagorical landscapes suture the gap between representation and reality with inchoate and unencumbered beauty. Here we find the figure flirting with abstraction, reveling in its newfound sensuousness.

This exhibition has been organized by Kenta Murakami in collaboration with Cay-Sophie Rabinowitz as part of a special anniversary year of programming looking forward and back with OSMOS. Twenty years ago Joachim Abrell and Christian Rattemeyer initiated OSMOS in Berlin. OSMOS was ambulant for more than a decade until Cay Sophie Rabinowitz moved OSMOS into a former anarchist tavern in New York where exhibitions and gatherings happen in the storefront; editorial work is done on OSMOS Books and OSMOS Magazine in the back office, and on the corner in First Street Green park we all get to share in the realization of public art projects. OSMOS continues to evolve independently but with a fully integrated program of curated and edited content created by the talented and the generous.

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OSMOS Magazine Issue 11 $25 ORDER

Issue 11 of OSMOS Magazine includes an essay by contributing editor Tom McDonough on photographer Eileen Quinlan, a feature on Ketty La Rocca by Massimiliano Gioni, a portfolio of works by Xaviera Simmons, a personal reflection on the work of Mathieu Mercier by Cay Sophie Rabinowitz, the life and work of Hervé Guibert as introduced by his gallerist Photios Giovanis, an essay on the photographic investigations of Dove Allouche by curator Drew Sawyer, an introduction to the work of Martine Syms by Jocelyn Miller, an essay by Jeffrey Kirkwood describing his research on the innovative Swiss artist and filmmaker Klaus Lutz, a look at Frances Uckermann's photographs of the 1980s NY art world by Christian Rattemeyer, the works and memories of artist-turned-gallerist Kerry Schuss with an introduction by Lee Plested, a portfolio of works by David Goldes, a feature on Susan Kleinberg's new video Balafre as introduced by Kenta Murakami, a postcard by Dawit L. Petros, a story by Jeff Crane titled White Priviledge: Skiing as Art, a series of instagram posts by photographer Alex Golshani from the protests following Trump's unexpected election win, and a reportage by Alex Welsh investigating housing discrimination and its effects on African American communities in the US, all enclosed within a cover by Peter Funch.

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OSMOS Magazine Issue 10 $25 ORDER

Issue 10 of OSMOS Magazine features a portfolio of drawings by Honza Zamojski as introduced by Sabrina Tamar, an essay by Sarah Meister on Jan Groover's 1973 artist book The Attributes of Positions: Semantics of the Highway, the work of Anna and Bernhard Blume as introduced by their gallerist Peter Freeman, a feature on Amanda Ross-Ho by Kenta Murakami, a reflection on gallerist Janice Guy's photography by artist Justine Kurland, a feature on Eva Kotátková as introduced by Christian Rattemeyer, a portfolio of photographs by Josef Bauer as introduced by curator Krist Gruijthuijsen, a meditation on AA Bronson's Instagram activity by artist Sholem Krishtalka, Helga Pakasaar on the Uno Langmann Family Collection’s photographic archive of turn-of-the-century British Columbia, a story by Cay Sophie Rabinowitz on artists' response to the war on drugs since 1969, and a reportage by Brian de Pinto with text by Eugenia Bell, all enclosed within Alex Welsh’s poignant cover, depicting a resident of Fergusson, MO.

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Honza Zamojski: GHOSTISM Oct 13 - Dec 4, 2016

OSMOS Address 50 E 1st Street New York NY 10003

This Fall OSMOS invites Polish multi-disciplinary artist Honza Zamojski to install an exhibition entitled Ghostism at OSMOS Address, our project space located at 50 East First Street in Manhattan. The work will be on view from October 13 until December 4, 2016.

At the center of the project is a series of black-and-white photographs depicting sculptures made of magnets. Recalling the tone and proportion of Brassai’s famous portfolio Les Sculptures de Picasso, Zamojski’s shadowy monuments also invoke the unrealized forms of Constructivist architecture.   The magnetized compositions become stand-ins for both the human figure and its built constructions.  

Employing the simplest of materials to explore what he terms “the nonsensical nuances of reality,” Zamojski aims to challenge the “traditional opposition between spirituality and materialism” through a sculptural medium that holds its form precisely through the energy that courses through it.  

Playful and direct, the work manifests a paradox: reaching towards the sky, the magnetic towers are simultaneously bound forever inward, twisting and malforming to accommodate their many magnetic poles. These photographs will be accompanied by works in other media.

Honza Zamojski (b. 1981) is an artist, designer, book publisher and curator whose practice spans multiple genres and mediums, from photography, to drawing, to sculpture. His work has been shown at solo and group shows in Poland and abroad, including the Zachęta - National Gallery of Art, Foksal Gallery, Morsbroich Museum and the Andrew Kreps Gallery in New York. He presented his lecture on self-publishing, titled "How it's Made", at the Centre Pompidou (2013), MoMA Library, and Printed Matter New York (both 2012). This exhibition at OSMOS has been produced in collaboration with Foksal Gallery in Warsaw, the Mazovian Institute of Culture and the Polish Ministry of Culture and National Heritage, and First Street Green in Manhattan.

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PHANTOM May 4 - Oct 1, 2016

OSMOS Address 50 E 1st Street New York NY 10003

Cay Sophie Rabinowitz is pleased to announce a group show entitled PHANTOM at OSMOS Address, 50 E 1st Street, featuring works by Fiona Banner, Richard Bell, Andrea Bowers, David Colman, Emory Douglas, Rico Gatson, Casey Legler, Maynard Monrow and Stuart Ringholt u.a. Works by these artists have been installed at OSMOS Address, a nearby storefront, and neighboring First Street Green park.

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Wardell Milan Published by Osmos Books Edited by Cay Sophie Rabinowitz. Text by Carter Foster, Leslie Hewitt, and Alvin Hall.

160 PAGES 7.5 X 10.5 INCHES $65 ORDER

Wardell Milan (born 1978) earned a BFA in photography and painting in 2001 at the University of Tennessee, Knoxville, and his MFA at Yale University in 2004. Right out of school in 2005 Milan emerged and was included in institutional exhibitions such as Greater New York at P.S.1 Contemporary Art Center and Frequency at The Studio Museum in Harlem. Milan has continued to challenge conventions of medium and message in his deeply personal and prolific work, which has been exhibited internationally. His work has been collected by The Studio Museum in Harlem; Denver Art Museum; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Hessel Museum of Art, Bard College, and Art Institute of Chicago. Milan is represented by David Nolan Gallery in New York. This is Milan's first monograph covering the breadth of his studio and exhibition practice over the course of the past decade and leading into the next.

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Kon Trubkovich Rock Takes Scissors, 2015 Three-color lithograph 22 x 30 in Edition of 40 $850 ORDER

This edition was produced by OSMOS in collaboration with Kon Trubkovich to support his monograph.

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Kon Trubkovich: Leap Second Published by Osmos Books Edited by Cay Sophie Rabinowitz. Text by Christian Rattemeyer. Interview by Nicolás Guagnini. 

144 PAGES 7.5 X 10.5 INCHES $65  ORDER

This first monograph on the oeuvre of Kon Trubkovich (born 1979) surveys the Russian artist's career in color reproductions and in-depth critical discussion, traversing the period from his first museum exhibition in 2006 to the present day. His works delve into themes of rebellion, memory, imprisonment and perception through a wide variety of media, including painting, drawing, photography and sculpture. Trubkovich's multimedia creations are generally based upon film stills, sourced from videos that range from prison footage to found movie clips and home videos. Extended across a series, these isolated fragments, generally distorted or grainy, evoke human processes of memorialization and psychological narrative. The artist's solo exhibitions, all of which are touched upon here, include No Country for Old Men MoMA (PS1), Almost Nowhere, Signali (both Marianne Boesky) and Leap Second (OHWOW).