Winter 2017 Artist in Residence,
Solo exhibition: February 4 – April 26, 2017
Opening performance: February 4, 2017, 5:00 PM
Remy Jungerman, a Netherlands based multi-media artist, is the Winter 2017 artist in residence at HVCCA. Born 1959 in the small Maroon community of Moengo in Surinam, on the northern Atlantic coast of South America, Jungerman has, for the last two and a half decades, made his home in the Netherlands. His work is an intersection between the African textile designs of Surinam and Dutch artists of the De Stijl movement, including Mondrian. Afro-Surinamese spirituality, or Winti, is his dominant theme.
Remy Jungerman’s work was featured in numerous publications and has been acquired by various institutions and private collectors worldwide including: Stedelijk Museum Amsterdam; Gemeente Museum, The Hague, Museum Het Domein Sittard; Zeeuws Museum Middelburg; NAI Rotterdam; Fries Museum Leeuwarden; Africa Museum Berg en Dal; Museum for Modern Art, Arnhem; Rennies Collection, Vancouver; Art Omi Collection, NY; and The Francis J. Greenburger Collection, NY. He attended the Academy for Higher Arts and Cultural Studies, Paramaribo (Suriname), before moving to Amsterdam where he studied at the Gerrit Rietveld Academy.
He attended the Academy for Higher Arts and Cultural Studies, Paramaribo (Suriname), before moving to Amsterdam where he studied at the Gerrit Rietveld Academy. With his art, Remy tries to connect continents, weaving Surinamese traditional rituals textiles with the geometrical lines of Modernism.
This exhibition and residency is sponsored, in part, by NEA, the Dutch Consulate, Mondriaan Fund, and the Netherland-America Foundation.
HVCCA’s 2017 Spring Artist-in-Residence
“I’s Closed, I’s Open: Aspects of the True Self”
Opening Reception: April 23rd, 2017, 4:30 – 6:00 pm
On view: April 23 2017- June 18, 2017
Mark Berghash was born in Buffalo, NY in 1935, and has lived and worked in New York City since 1957.
Berghash’s Aspects of the True Self challenges the notion that it is the photographer rather than the subject who determines the success of a photographic production by selecting the moment when the subject’s character or personality is fully revealed. By presenting his participants with questions that explore their history and their psyche and giving them the ability to work the shutter and thus self-record their reactions, he places the power of the exploration into the hands of the subject.
I’s Opened I’s Closed is a series of head and shoulder photographic diptychs, each one accompanied by a Haiku-like poem. In creating each portrait the subjects are requested to think about their inner life. The first image is with their eyes closed, the second image with their eyes open. After the photo session, the subject wrote down his or her thoughts and feelings. From these, Berghash and his wife Rachel, a poet, composed a Haiku-like poem for each subject. Berghash’s intention in making these portraits is to record aspects of a person’s true inner self.
In an article for Art F City in 2016, Rom Vaughan said, “Whether Berghash succeeds in truthfully plumbing his subjects’ minds is known for certain only by them; but there is no doubt that he strikes to the core of the precept that photography is significantly related to memory. Photographs are often saved simply because they revive the past. Berghash has pushed the process of reviving the past to its most extreme and nearly un-photographable point by producing work that is the manifestation of memory, not just an instrument of recollection.”
Livia Straus, Director of HVCCA spoke of Berghash’s work saying, “His combination of words and images create a powerful confessional mode that both reveals and hides. His other Authentic Self projects such as ‘Twin Selves’, ‘Galut’, and portraits of Holocaust survivors explored the different aspects of personality that we reveal in public and that, born of hidden desires, that remains unseen.”
Among other institutions, Berghash’s work is included in collections of and has been exhibited at The California Museum of Photography, Riverside; Dayton Art Institute, Dayton, Ohio; Franklin Furnace Archive, NYC; International Center of Photography, NYC; International Polaroid Collection; the Jewish Museum; NYC; Metropolitan Museum of Art, NYC; MOMA NYC; Museum on the Seam, Jerusalem, Israel; and Hudson Valley Center for Contemporary Art. The Berghash opening will
As part of his exhibition at HVCCA, Mark Berghash will be photographing subjects, especially first and second- generation immigrants from the Peekskill community, on April 1st – 2nd, 2017. Photographs taken for this project will be hung with exhibition of I’s Opened I’s Closed photographs, opening April 23rd, 2017.
There are two other events at HVCCA are related to the Berghash show. Donna Barkman’s new play, Viewfinder, which is based on the work of Emma Rivers, will open with the Berghash exhibit at 4:00PM on April 23rd. On May 20th at 8:00 pm and May 21st at 3:00 pm, Sol Miranda’s play, I am Here, I Belong, which was written by and for Peekskill’s immigrant residents under the What Matters Project will be presented.
For more information about participating in the photoshoot on April 1st and 2nd, or for more information about the plays or exhibit, please contact the museum at [email protected] or by phone at 914-788-0100.
HVCCA’s 2017 Spring Artist-in-Residence
“Selknam: Spirit, Ceremony, Selves”
Opening Reception: May 13th, 2017
2 – 5:00 pm;
Special Performance at 5 pm
On view: May 3 – September 17, 2017
The Selknam, an extinct aborigine tribe of Tierra del Fuego, is the inspiration for Elisa Pritzker’s installation at the HVCCA. Over ten years ago when Pritzker visited Patagonia, she felt an urgency to discover the people who had lived in Tierra del Fuego “before all the tourists came, speaking all different languages, from many cultures,” except for that of the Selknam, whose voices were gone.
Pritzker has created an installation that honors the tribe, gathered into reservations in the 1940’s and eradicated by diseases and cultures not their own. She began an in-depth study of the Selknam Tribe, using source materials from anthropologists and photographers, among them Anne Chapman. In the 1950’s and 1960’s Chapman documented the Selknam’s unique culture and recorded their language and chants. Chapman was cured of a life threatening ailment by Lola Kiepkja, the last Selknam shaman alive. After intensive research, Pritzker realized how much the ancient cultures and traditions had to teach and her solo show at HVCCA brings the viewer – stone by stone – into the Selknam realm.
Elisa Pritzker, born in Argentina, now lives in upstate New York. Her work has appeared in exhibitions and museums worldwide. Brian K. Mahoney, Chronogram Magazine editor, said, Pritzker “… has helped to shape the evolution of the regional arts scene.” Certainly, Pritzker’s work, installations and objects, has reshaped how we think about culture, ancient, urban, natural or spiritual. Looking anew at the old, Elisa Pritzker’s installation at the HVCCA, provides a contemporary artist’s view of an ancient world.
An original performance piece, which uses Eliza Pritzker’s vision, integrates music, dance, and narration, giving the Selknam voice through the perspectives of three women, a female shaman, an ethnographer, and a mythological moon woman. The performance is at 5PM, Saturday, May 13th as part of the opening reception of Pritzker’s show. Performance collaborators include Marcy B. Freedman, art historian and performance artist, and musicians/composers Nannette Garcia, Maurice Minichino; and dancer Marsi Burns
Marcy B. Freedman has a MAs in Art History from Princeton and the University of Michigan. A visual artist, Marcy has explored a variety of mediums. Her works and performances have been seen in more than 300 exhibitions around the country. Collaborating with other artists is an important part of Marcy’s artistic life
Skin Against Metal: Nanette Garcia (voice, percussion, collector of junk instruments) and Maurice Minichino (piano/keys, bass, electronic sounds, engineer). Life partners and creative collaborators since the late 80s, they became deeply involved in the 90’s with Afro-Cuban sacred music 2000, the composers authored the instructional book: The Sacred Music of Cuba: Bata Drumming Matanzas Style. As indie artists, the composers move from one genre to another mixing influences, exploring sound and recording techniques without boundaries.
Marsi Burns is NYC-based dance artist who brings her physical prowess and a love of improvisation to each theatrical endeavor. Her original choreography is a response to the visual, aural, and spoken-word content provided by the other participating artists. Wearing a Selknam-inspired costume and a mask created by Pritzker, Burns’ performance will enrich the stories of the three women featured in the program.