October 27, 2013 – December 7, 2014
Art at the Core: The Intersection of Visual Art, Performance & Technology
The HVCCA’s 2013-2014 exhibition features works that lend themselves to narrative interpretations. The selected artists employ traditional art materials as well as new technology, video, and performance to look to art as addressing the very core of our everyday lives, our “weltanschauung.”
In the works of Chen Zhen, Jeffrey Schrier, Gilbert and George, and Andres Serrano, we see evidence of the artist addressing identity politics as seen through past cultural and social traditions, race, nationalism, and heritage. Others artists in the exhibition, such as Ben Schumacher, Stephan Balleaux, Matt Keegan, and Adam Pendleton, extract materials from the current and future “world-in-the-ether” thus producing across global lines and re-appropriating disseminated images and objects that are the products of technology and industry. Marina Abramovic, represented here by her triptych Spirit House, which was performed initially within a circumscribed space at Sean Kelly Gallery, consistently tests the limits of her body. She emerged from Europe as a pioneer in feminism, movement, and installation. Her retrospective at MOMA proved the fact that live performance has the ability, when done by a master, to hypnotize the viewer and to take in and own the presentation in a powerfully psychological way.
In an increasingly fast-moving era, and as explored in Art at the Core, the world of art and culture bridge artistic disciplines- painting folds into sculpture, into sound, light, video, and performance. Performance, enhanced by installation and often video, asserts itself as an art form, not in the narrative traditions of opera with its stage design, but in a contemporary format that defies traditional descriptions. The eclectic selections from the works of the twenty-three artists exhibited at the HVCCA, bring about a show that is riddled with complexities, manifesting diverse approaches to identity, society, culture, and materiality and dedicated to the intersection and melding of life and art.
Whether obvious or implied, metaphorical or physical, the artist’s reflection on life can serve as an eye opening experience to the viewer. In keeping with the spirit and in conjunction with the nature of the exhibition, several video and performance artists as well as seven playwrights have been invited to produce original scripts that intersect with the works in the exhibition, pulling performers, writers, and audience into an active exploration of mind that meets and explores the visual and the sensory at the individual’s “core.” Performance/video works will be highlighted during the fall and winter of 2013, plays will be performed monthly from January through November 2014.
Artists: Marina Abramovic, Stephen Balleux, Phyllida Barlow, Rafal Bujnowski, Jonas Burgert, Dan Christensen, David Drebin, Martin Eder, Bryan El Castillo, Robert Fekete, Gilbert and George, Charles Hinman, Lisa Hoke, Suzan Frecon, Lisa Karrer, Matt Keegan, Justen Ladda, Giles Lyon, Mara Mills, Haroon Mirza, Yigal Ozeri, Jon Pylypchuk, Adam Pendleton, Jordan Rathus, Osvaldo Romberg, Antonio Santin, Italo Scanga, Florian Schmidt, Jeffrey Schrier, Ben Schumacher, Andrew Sendor, Andres Serrano, Costa Vece, Phil Wagner, Jeff Wall, Angela Washko, Chen Zhen, Thomas Zipp, and others.
The Women’s Room @ HVCCA October 12 – December 7, 2014
The Women’s Room: Female Perspectives on Men, Women, Family and Nation
Curated by Marcy B. Freedman and Livia Straus
HVCCA is proud to present video artworks by women who use the medium to explore the intricacies and dilemmas of gender, human relationships, and nation-centric politics. Each of the selected artists has endowed her video with a very personal point of view and simultaneously, created a video that is meaningful to a larger audience.
Kate Hampel’s video Casual Encounters – A Month of Sundays features the artist in a long, dark wig, reading selections from a Craigslist website for “women seeking men.” The video suggests the ways in which men are objectified and reduced to a set of physical traits and broad personality types by certain women.
Amy Jenkins addresses the shifting terrain of gender identity in a pair of interconnected videos. Audrey Superhero documents the desire of her six-year old daughter to be a boy. Becoming, memorializes her son’s first haircut at the age of three. His long, blond tresses are cut off in this ancient ritual of change, relinquishing his gender neutrality.
Adela Jusic’s When I die, You Can Do What You Want reveals the challenging personal and political history of an elderly woman, as well as the touching bond between a grandmother and her granddaughter.
Alex McQuilkin suggests a powerful connection between herself and the 15th century French heroine in her video Joan of Arc. In Magic Moments (Preliminary Materials for a Theory of the Young-Girl) McQuilkin addresses the sexualization of young women in contemporary media.
Sara Shaoul’s Erin Mahoney (Activist, Friend) explores a seemingly simple interchange that belies a sophisticated exploration of female bonding and contemporary politics in the United States.
Rona Yefman and Tanja Schlander’s, Pippi Longstocking, The Strongest Girl in the World, at Abu Dis, is a collaboration that places a classic children’s heroine in the midst of the troubling contemporary politics of the Israeli Palestinian conflict, while addressing the power of women to make changes in the world.
Maria Marshall’s President Bill Clinton Memphis, Memphis, November 13, 1993, shows the artist’s children in the frenzied act of constructing and deconstructing their environment, all to the rhythm of a child reading a text of President Clinton addressing the importance of human productivity.
Read a review by Susan Hodara in the NY Times November 9, 2014. Click here.