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.
Opening Reception: Sunday, October 12th 5 – 7pm
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. The topics considered are of universal significance, and the viewers of these videos will be inspired to think deeply about them.
Casual Encounter: A Month of Sundays by Kate Hampel 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. (www.katehampel.com)
The shifting terrain of gender identity is addressed in Amy Jenkins’ pair of interconnected videos. In Audrey Superhero, the artist documents the desire of her six-year old daughter to be a boy. In Becoming, Jenkins memorializes her son’s first haircut at the age of three. As his long, blond, curly tresses are cut off in this ancient ritual of change, his gender neutrality is relinquished. (www.amyjenkins.net)
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.
In her video Joan of Arc, the artist Alex McQuilkin suggests a deep and powerful connection between herself and the 15th century French national heroine and Roman Catholic saint. McQuilkin’s Magic Moments (Preliminary Materials for a Theory of the Young-Girl) addresses the sexualization of young women in our contemporary media. (www.alexmcquilkin.com)
The deceptively simplistic scenario of Sara Shaoul’s Erin Mahoney (friend, union organizer, activist) belies its sophisticated exploration of female bonding and contemporary politics in the United States. (sarashaoul.com)
Pippi Longstocking, the strongest girl in the world! at Abu Dis, Palestine, a collaboration between Rona Yefman and Tanja Schlander, 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 Marshal’s President Bill Clinton Memphis shows the artist’s children in the frenzied act of constructing and deconstructing their environment, all to the rhythm of the underlying text – read by a child – of the President addressing the dignity and importance of human productivity.
June 12 – September 27, 2014
Angela Washko, Playing a Girl
In early 2012 Angela Washko founded “The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft” as a performative intervention within the misogynistic environment of World of Warcraft, the most massively popular multiplayer role playing game of all time. Instead of continuing to follow the quest structure of the game—killing dragons, getting better equipment, joining more competitive guilds—while performing as “The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft,” Washko facilitates discussions with players inside the game about the ways in which the community therein addresses women and how players respond to the term “FEMINISM.” Washko is interested in the impulse of the community/player-base to create an oppressive, misogynistic space for women within a physical environment that is otherwise accessible and inviting. Furthermore, WoW is a geographically, politically, economically, socially, and racially diverse community (a much more varied community to engage with than she has in physical public space). Consequently, these discussions within the game space create a much larger picture of the American opinion of the evolving roles of women in contemporary society.
Washko plays a number of different characters on different servers. In the works presented through Playing A Girl, Washko plays three characters: Washclothes, Ookitties, and Snuh. The conversations Washko facilitates generally start with feminism and meander into discussion surrounding long list of topics including (but certainly not limited to): the male impulse to play female characters within World of Warcraft, inherent gendered qualities, homophobia, separatism, and rape.
Angela Washko is a video artist and facilitator devoted to mobilizing communities and creating new forums for discussions on feminism where they do not exist. Her practice is research-based, employing data, and archiving strategies as storytelling tools to create prototypes for actions by others. Intentionally misusing software and media, Washko attempts to intervene on public opinion regarding proper etiquette, appropriate lifestyle choices, and limited gender designations. angelawashko.com
June 7 – November 2, 2014
Presented in collaboration with Caramoor’s In The Garden of Sonic Delights:
Arron Taylor Kuffner, Gamelatron Sanctuary: Suara Sinar (The Sound of Light)
This exhibit is not in the main museum space, but at a nearby HVCCA satellite location at 100 North Water Street, Peekskill.
The exhibit can be viewed Friday 11-4:30, Saturday & Sunday 12-5:30.
Please call the museum at 914-788-0100 for viewing requests.
Suara Sinar is a site-specific installation that transforms a vast windowless abandoned warehouse on the Peekskill, NY waterfront into a sanctuary of light and sound. In the middle of a pitch black 10,000 sq. foot space there is an oasis of couches, pillows and rugs. Spiraling out from the oasis in concentric circles stretching across the entire space are instruments from a Balinese Gamelan orchestra retrofitted with mechanical mallets mounted in the ceiling trusses. Twenty four bronze kettle shaped gongs called Reyong and Trompong, 4 hanging gongs ranging in size from 23 to 35 inches in diameter, 4 pairs of 9 inch bronze hand cymbals (Kopyak), and 2 dragon turtles with eight 4-inch hand cymbals (Ceng-Ceng) robotically play day-long sequences of music composed specifically to allow the entire warehouse to function as a resonating chamber. With each sound a pulsation of light bursts from the instrument and fades as the tone diminishes, briefly illuminating a spot in the vastness. Movements of music become a choreographed panoramic dance of light.
Suara Sinar is a refuge, it is a universe unto itself, it is an offering, a respite, an escape, and a confrontation.
Aaron Taylor Kuffner is a conceptual artist, sculptor, and composer. His pieces often take the form of long-term multiyear projects that involve in depth research, collaboration with field experts and development of specialized skill sets. Each project is uniquely attached to the idea of providing conceptual tools that further the evolution of consciousness through experiences of beauty and the sublime. In doing so he reaches far outside of conventions pushing the role of art to be a form of service to society. aarontaylorkuffner.com
In the Garden of Sonic Delights is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature
March 29 – November 2014
Theatrical Performance Series!
Acting Out: Words That Connect
|Selected Show Dates|