SculptureCenter

SculptureNotebook is an online platform that features artists, events, books, and other cultural material pertinent to issues in contemporary sculpture. SculptureNotebook is a program of SculptureCenter, a not-for-profit arts institution located in Long Island City, NY and founded by artists in 1928. SculptureCenter focuses on the production of new artwork and presents exhibits by emerging and established artists from New York and around the world. visit www.sculpture-center.org

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FEATURED ARTIST: ektor garcia, installation view of kriziz, kurimanzutto, Mexico City, 2016. Courtesy of the artist and kurimanzutto, Mexico City, Mexico. Photo: Abigail Enzaldo.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

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FEATURED ARTIST: ektor garcia, installation view of kriziz, kurimanzutto, Mexico City, 2016. Courtesy of the artist and kurimanzutto, Mexico City, Mexico. Photo: Abigail Enzaldo.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

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WHAT’S ON: Éliane Radigue, Laetitia Sonami, Bob Bielecki, C. Spencer Yeh, Christine Sun Kim, Ernst Karel, Hildegard Westerkamp, John Giorno, Jules Gimbrone, MSHR, Nate Wooley, Pauline Oliveros, Robert Aikim Aubrey Lowe, and Samita Sinha, The World is Sound, June 16, 2017 – January 8, 2018, 150 West 17th St., New York, NY 10011.

Detail of The Five Cosmogonic Elements; Folio from Ritual Empowerment Text and Illuminations of the 100 Peaceful and Wrathful Deities of the Chonyi Bardo; Tibet; ca. 15th century Pigments on cloth; F1998.16.5.2 (HAR 68878).Installation photographs by Filip Wolak.

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This post is part of our calibration series

ELL

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WHAT’S ON: Maryanne Amacher: Adjancies. September 29, 2017, curated by Blank Forms @ The Kitchen, 512 W 19th St, New York, NY 10011.

photo courtesy Blank Forms and the Maryanne Amacher Archive

this post is part of our Calibration series

sculpture-center.org

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FEATURED ARTIST: Neil Beloufa

Installation views, Neïl Beloufa, 2017. Pejman Foundation, Tehran. Photos courtesy Ghebaly Gallery. 

Click here to view Neil Beloufa’s work in SculptureCenter’s 2013 exhibition Better Homes, curated by Ruba Katrib.

sculpture-center.org

This post is part of our calibration series

ELL

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FEATURED ARTIST: Neil Beloufa, Real Estate, 2012, 2012. Installation Shot, Better Homes, 2013, SculptureCenter. 

www.sculpture-center.org.

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WHAT’S ON: Neil Beloufa, Neïl Beloufa: Sustainable Development, July 1, 2017 – October 22, 2017. Regional Museum of Contemporary Art, Languedoc Roussillon Midi Pyrenees, 146 avenue de la plage, Serignan.

Installation view, Neïl Beloufa: Sustainable Development, Institute of Contemporary Arts London, 2014. Courtesy the artist and Languedoc Roussillon Midi Pyrenees.

Click here to view Neil Beloufa’s work in SculptureCenter’s 2013 exhibition Better Homes, curated by Ruba Katrib.

sculpture-center.org  

This post is part of our Calibration series.

ELL

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FEATURED ARTIST: Neil Beloufa

French-Algerian artist Neil Beloufa’s practice deftly combines sculpture and moving-image media to create immersive viewing spaces. Within custom-built environments composed of inexpensive construction materials and seemingly improvised/homespun techniques, Beloufa treats projections like objects, deliberately obstructing and diffusing images onto multiple surfaces. The result is a kind of provisional armature for the films, a material counterpart to the videos’ own socially oriented complications of fiction and reality.

Neil Beloufa (b. 1985) lives and works in Paris, New York, and Los Angeles. He  studied at The Cooper Union, California Institute of the Arts, Ensad, Arts Décoratifs de Paris (National superior school of Art and Design), Beaux-Arts de Paris (National superior school of Fine Arts), and Studio National d’Art contemporain. Notable past exhibitions include solo presentations at Ghebaly Gallery, Los Angeles (2016); The Museum of Modern Art, New York (2016); ICA, London (2013); Hammer Museum, Los Angeles (2013), Palais de Tokyo, Paris (2012); as well as group shows including Here and Elsewhere, New Museum, New York (2014); Taipei Biennial (2014), Dissident Futures, Yerba Buena Center for the Arts, San Francisco (2013), Lyon Biennale (2013), 55th Venice Biennale, “The Encyclopedic Palace”, Venice, Italy (2013), and  Better Homes, SculptureCenter, New York (2013). Locally, his work has been shown at Anthology Film Archives and Whitebox Art Center, among other venues.

Click here to view Neil Beloufa’s work in SculptureCenter’s 2013 exhibition Better Homes, curated by Ruba Katrib.

Installation view, Neïl Beloufa, "The Colonies", 2016. Museum of Modern Art, New York. Photos courtesy of Ghebaly Gallery and the artist. 

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WHAT’S ON: NEW NOVETA/HYDRA, September 5 - October 28, 2017. YEARS Tagensvej 582200 Copenhagen, DK.

See NEW NOVETA’s most recent US performance at Ludlow 38: http://ludlow38.org/events/new-noveta-performance/

This post is part of our Calibration series.

www.sculpture-center.org  

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WHAT’S ON: Maria Eichhorn at Documenta 14, April 8, 2017 - September 17, 2017. Migros Museum für Gegenwartskunst, Zürich, Stavropoulou 15, Amerikis Square, Athens and EMST—National Museum of Contemporary Art, Athens.

Maria Eichhorn, Building as unowned property, 2017. Conversion of a Building’s legal status, legal studies, documents, building, and lot at Stravropoulou 15, 11252 Athens. Courtesy the artist and VG Bild-Kunst, Bonn, 2017. Photo: Mathias Volzke

www.sculpture-center.org  

This post is part of our Calibration series.

ELL

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WHAT’S ON: Prismatic Park, Matana Roberts. September 5  - 10,  2017, curated by Blank Forms @ Madison Square Park, 11 Madison Ave, New York, NY 10010.

Photo courtesy Blank Forms

This post is part of our Calibration series.

sculpture-center.org 

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WHAT’S ON: Candice Lin: A Hard White Body, curated by Lotte Arndt and Lucas Morin, September 6 to December 23, 2017. Bétonsalon - Center for Art and Research, 9 esplanade Pierre Vidal-Naquet 75013 Paris, France.

Candice Lin, Porcelain sock for A Hard White Body, 2017. Photo courtesy the artist.

Click here to view Candice Lin’s work in SculptureCenter’s 2017 exhibition In Practice: Material Deviance, curated by Alexis Wilkinson.

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This is the first post in our Calibration Series. While calibration generally serves the correctional purpose of rectifying deviation from normative standards, it can also be opened up beyond such deterministic instrumentality. Calibration can also refer to adjusting for a particular function, a moment of centering even at the dispersed margins. In this way, calibration can be separated from its clinical associations to mean a sort of scrambling between vernacular and normative standards in order to generate the critical or productive ground from which official standards can also be held accountable. This sort of re-orientation can operate through defamiliarization of the familiar, but also through the production of cognitive estrangement via speculative scenarios. As Ann Stoler writes in her essay Imperial Debris: Reflections on Ruins and Ruination, “The project is not to fashion a genealogy of catastrophe or redemption. Making connections where they are hard to trace is not designed to settle scores but rather to recognize that these are unfinished histories, not of victimized pasts but consequential histories that open to differential futures.”

-ELL

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FEATURED ARTIST: ektor garcia, installation view of kriziz, kurimanzutto, Mexico City, 2016. Courtesy of the artist and kurimanzutto, Mexico City, Mexico. Photo: Abigail Enzaldo.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: ektor garcia, installation view of kriziz, kurimanzutto, Mexico City, 2016. Courtesy of the artist and kurimanzutto, Mexico City, Mexico. Photo: Abigail Enzaldo.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: ektor garcia

ektor garcia’s work synthesizes an interest in queer culture and arts and crafts traditions with strong roots in Mexico. Although he is ostensibly a sculptor, his works tend to be so elaborately installed and involuted that it is hard to say where things end or begin. Evocative of a homemade altar, collection of ritual or fetish objects, garcia’s environments feature artifacts fashioned from an amalgam of techniques including leather making, ceramics, sewing, welding, embroidery, and collecting. The objects themselves are known to range from handmade ceramic cups to leather cock rings, to dog muzzles, which are often combined with recycled and appropriated materials to engender hybrid forms resisting classification. When not appropriated, everything is crafted by the artist, who makes a point of learning each and every technique he uses, however imperfectly.

ektor garcia (b. 1985, Red Bluff, California), lives and works in New York. A child of migrant farm workers, he has lived and traveled frequently between California and Mexico. Garcia received his BFA from The School of the Art Institute of Chicago in Fiber and Material Studies in 2014 and received his MFA from Columbia University in 2016. Recent exhibitions in 2016 include Matthew K. Abonnenc and ektor garcia at Sargent’s Daughters, New York, NY; “Contemporary Ceramics” at LeRoy Neiman Gallery curated by JJ Peet, New York, NY; “Touching The Membrane” at Space Create, Newburgh, NY; and in 2015 a two person show at the Can Gallery, a project by Lia Gangitano, New York, NY. He will be participating in the New Museum's upcoming group show “Trigger,” as well as a solo show at Visitor Welcome Center in Los Angeles this fall, and a solo show at Mary Mary in Glasgow in 2018. 

ektor garcia, installation view of kriziz, kurimanzutto, Mexico City, 2016. Courtesy of the artist and kurimanzutto, Mexico City, Mexico. Photo: Abigail Enzaldo.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: Virginia Overton (b. 1971) participated in SculptureCenter’s Summer 2009 In Practice show. She was commissioned in 2016 by The Whitney Museum of American Art, New York for Virginia Overton: Sculpture Gardens, an installation for one of the museum’s decks.

Photo 1: Virginia Overton, Untitled, 2009. 8′ ladder. Dimensions available. Photo: Jason Mandella. Courtesy of SculptureCenter and the artist.

Photo 2: Virginia Overton, Installation view of Virginia Overton: Sculpture Gardens (Whitney Museum of American Art, New York, June 10–September 25, 2016). Photo: Ron Amstutz. Courtesy of Whitney Museum of American Art, New York.

www.sculpture-center.org

This post is part of our SculptureCenter Yearbook series.

-SH

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READING ROOM: Edited by Lucia Farinati and Claudia Firth, The Force of Listening, Errant Bodies Press, 2017.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH