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Thresholds: Shadow Self at Alter Space

March 05, 2014

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FOR IMMEDIATE RELEASE!

ALTER SPACE PRESENTS
Thresholds: Shadow Self
Yulia Pinkusevich

March 15 – 29, 2014
OPENING: March 15, 2014 from 7-10pm
A.I.R Exhibition

Thresholds: Shadow Self, is a site-specific installation by Yulia Pinkusevich, located in the
basement of the gallery. Pinkusevich has embedded an architecturally scaled structure into the
existing space that explores notions of shadow, light, barrier and threshold. Utilizing 30+
reclaimed doors that she collected during her time at RecologySF (SF Dump), this immersive
environment aims to evoke personal inquiry and examination, prompting visitors to embark in an
act of investigation as they navigate the maze-like arrangement through its series of doors.

Pinkusevich’s Thresholds is inspired by the Jungian philosophy of shadow, that which hides in
the subconscious darkness of the human psyche. Even though the shadow exists in the psyche,
waiting to reveal itself through human action, it seldom manifests in real life. This installation
creates a dialogue with the body that is aimed at prompting a deeper awareness of the journey
into one’s self, shining light on dark corners of the psyche while playing with the viewers
perceptions of space.

“Art’s not psychology, some art can be psychological but I don’t claim to be able to solve
people’s problems through an installation. I do hope it makes you ponder a bit or think about
why- I think art is meant to be an experience, I control certain aspects of it but I can’t control
how it’s perceived, that belongs to the audience.”

Yulia Pinkusevich is an interdisciplinary visual artist. Born in 1982 in Kharkov, Ukraine she holds
a Masters of Fine Arts from at Stanford University and Bachelors of Fine Arts from Rutgers
University Mason Gross School of the Arts. Yulia has been awarded residency grants from
Recology (SF Dump), Cite des Arts International in Paris, Headlands Center for the Arts, Redux
in South Carolina, Goldwell Open Air Museum and The Wurlitzer Foundation. She received The
San Francisco Foundations 2011 Phelan, Murphy & Cadogan Fellowship in the Fine Arts as well
as Stanford University SiCA’s Spark and ASSU Grants. She currently lectures at Stanford
University and resides in East Palo Alto, California.

MORE INFO

http://alterspace.co/about-2/jcr/yulia-pinkusevich/

http://alterspace.co/the-jail-cell/

Alter Space 1158 Howard St San Francisco CA

GALLERY HOURS Thursday – Saturday, 1-6pm or by appointment, contact@alterspace.co

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Square Cylinder

February 13, 2014

Stephanie Syjuco & Yulia Pinkusevich @ Recology

Posted on 26 January 2014.

Stephanie Syjuco:  Modern Ruins ( Popular Cannibals)

For a ringside view of consumption and its discontents, there’s no better place than Recology, the arts program at the San Francisco city dump.  Each year, a handful of artists-in-residence gain access to a seemingly limitless supply of commercial and residential debris which they transform during four-month residencies into plangent installations, many of them dealing with environmental woes and their underlying causes.

The bad news is that these exhibitions are up for only a few days.  The good news, if you act quickly, is that you can still see this one on Tuesday, from 5 to 7 p.m.  It’s definitely worth the effort.
Stephanie Syjuco, an artist with a rich history of such undertakings, offers a two-part installation called Modern Ruins (Popular Cannibals).  The idea, she says, was to portray – without using figures — notions of “class, consumption and wealth” that were once conveyed by court painting.  With cast-off construction materials, textiles, carpet scraps, plastic refuse and e-waste, she fills a room with replicas of high-end designer furniture that, at distance, look like pages out of Elle Décor.  (Up close they’re way funkier, but are, nevertheless, ingenious examples of trash turned into minimalist treasure.)  If you’re among those who pine for the latter, you’ll recognize Eames, Mies van der Rohe, Noguchi and many other well-known brand names.  Sapien’s famous floor-mounted bookshelf, for example, Syjuco replicates for use as “a materials library.”  It holds swatches of everything that went into the installation, and stands a kind of mock how-to guide for people saddled with desires they can’t afford.
Yulia Pinkusevich: The Glory of a Tool is Seldom Judged by its Handle
Lowbrow tastes also receive critical examination. Behind a screen, Syjuco points to a primer-gray “cornucopia” of bottles, cans, wicker baskets, flags, bric-a-brac and obsolete electronic devices and says: “That’s the flipside, the reality check.”  It’s a carefully assembled trash pile that could be taken for a survivalist’s rummage sale.  Together, the two parts of the installation call up basic questions of value.  What is garbage?  What is wealth?   And how are our ideas of it determined by class and circumstance?
Yulia Pinkusevich’s installation, The Glory of a Tool is Seldom Judged by its Handle, examines how urban and rural economies intersect.  It contains several parts.  In one, a needle-less sewing machine drives a large fabric wheel round and round without inserting a single stitch, a cycle of fruitless motion that mirrors the plight of workers in corporate-run sweatshops.  Nearby, a dozen shovel handles embedded in concrete blocks allude to the gobbling up of

Stephanie Syjuco: Modern Ruins (Popular Cannibals)

farmland by cities: plowshares into skyscrapers.  Most compellingly, there is the shadow image of city projected onto a large wall.  It arrives there by the artist’s placement of heat sinks — the fluted metal boxes that cool electronic devices – in front of light bulbs.  The angle of the light makes the silhouettes of some appear crumbling and ancient, while rendering others as geometric monoliths, echoes of the towers that now populate cities like Shanghai.  Lastly, there is a wall sculpture made from capacitors, which the artist painstakingly extracted from several dozen discarded computers.  Shorn of rubber sheathing they resemble shell casings, and are here arrayed by size to represent the shape and population density of Silicon Valley, which, until the 1960s, was largely farmland.  It was called the Valley of the Heart’s Delight.

Not anymore.    Progress, the artists tell us, always carries a price.

–DAVID M. ROTH

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Recology Opening

January 24, 2014

Recology San Francisco, Artist in Residence Exhibition

The Glory of a Tool is Seldom Judged by Its Handle

The Artist in Residence Program at Recology San Francisco will host an exhibition and reception for current artists-in-residence Yulia Pinkusevich, Stephanie Syjuco, and student artist Brittany Watkins. This exhibition will be the culmination of four months of work by the artists who have scavenged materials from the dump to make art and promote recycling and reuse.

Curatorial Statement by Sharon Spain

An important part of Yulia Pinkusevich’s practice involves the creation of large-scale monochromic paintings and drawings, often made directly on walls that engage with architecture and play with spatial perception. While at Recology she has continued this practice, but has also “drawn” with the duality of light and shadow, constructing projection boxes that contain objects that cast images on the walls of the studio’s back room. The results are visually complex cityscapes—large darkened outlines of high-rises and other familiar urban forms. While it is obvious this is a city, exactly what city this might be is less clear, as the architecture seems a cross between the futuristic and the familiar. It is no wonder that these forms are a bit enigmatic; they are created using capacitors and heat sinks pulled from common electronic devises—devices we interact with every day, but whose working components are far less familiar.
Pinkusevich examines the role of architecture in our daily lives and how it frames, transects, and obscures the world around us, affecting our spatial perception and cognitive understanding. Her use of components from computers and televisions—technologies that also shape our perception of the world—is an apt metaphor. Her work also addresses broader issues related to global urbanization and labor. The fabrication of electronics and other consumer goods increasingly has societal and environmental consequences when formerly rural areas become sites of rapidly built factories and worker housing. The long-term impact this instant architecture will have is only beginning to be understood. Pinkusevich’s working process also provided a more direct connection to labor. She discovered that there was a specific order to disassembling the electronics and realized that she was actually reversing the process of the people who put these components together. Other sculptural works speak to this more personal view of labor and tie what is built to the anonymous builders, people whose labor—whether used for the construction of an apartment block or a pair of jeans—is increasingly taken for granted along with the resources used to fuel our disposable lifestyles.

Born in Ukraine and raised in New York, Pinkusevich holds a BFA from Rutgers University and an MFA from Stanford University.  She has been the recipient of a Headlands Center for the Arts Graduate Fellowship in Sausalito, a Cite Des Arts International Studio Residency in Paris, and a Helen Wurlitzer Foundation Residency Grant in Taos, New Mexico. Yulia is currently Lecturer of Drawing at Stanford University.

Locations

Art Studio at 503 Tunnel Ave.
Environmental Learning Center Gallery at 401 Tunnel Ave.

Date/Time

Reception-Friday, January 24, 2014,5-9pm
Reception-Saturday, January 25, 2014, 1-3pm
Additional viewing hours-Tuesday, January 28, 2014, 5-7pm
Artist panel discussion- Tuesday, January 28, 2014, 7pm

Admission is free and open to the public, all ages welcome,
wheelchair accessible.
http://www.recologysf.com/AIR

the immigrant sm

Present Tense: 2012-13 Graduate Fellows Exhibition at Headlands Center for the Arts

June 10, 2013

Present Tense: 2012-13 Graduate Fellows Exhibition at Headlands Center for the Arts

05/17/2013

Headlands Center for the Arts is only one part of the multifaceted, convoluted history of the Marin Headlands. Legends of the Miwok Native Americans to the archived histories of the seacoast fortification Fort Barry perhaps known by many will also tell just one fraction of the land’s entire story. ”Present Tense,” guest curated by Christian L. Frock, whose past interests include art in atypical settings and presenting works exploring histories within contemporary art, examines the upending of conventional studio practices at Headlands by its 2012 – 2013 Fellowship artists to produce narratives concurrently told within contemporary and traditional voices. New works featured in the galleries and in a series of site-specific projects staged inside and around the main building created by Fellows Joshua Band, Kyle Austin Dunn, Liam Everett, Michael Koehle, Kari Orvik, Jordan Perkins-Lewis and Yulia Pinkusevich showcases how each of the artists’ artistic practice parallels and differs from the multifarious histories found within the unique, varied Headlands landscape.

Many of the participating artists explore these themes and investigate the ideas within two disparate mediums or approaches, in many ways  a powerful metaphor of the difficult task to illustrate  to these multiple layers of history by just one means. Kari Orvik comments upon the continued construction of the landscape among these various chronologies as well as the at times tenuous historic relationship with Headlands’ human incursion and its environs  in her series, Exercise for Moving in Between through a spectrum of approaches: a suite of tin-type photographs of Orvik tight-rope walking inside the Headlands’ historic military gymnasium, a filmed iteration of this precarious performance at  an ocean bluff rope barrier nearby, and some quite effective etched mirror panels placed circularly in front of an West Gallery window. Yulia Pinkusevich’s breadth of mediums is perhaps the most commendable; her explorations of the surrounding landscapes through salt block sculptures (judging by their delicate curves, they were carved by water or some other delicate instrument) tackles both the rolling hills as well as the undulating ocean waves nearby. The large, fantastical, and heavily geometric two-dimensional painting that looks as if it implements topographical mapping completes this broad range of both the real and imagined, and the human and natural markings upon the land. Michael Koehle’s digitally created sculptures alongside digital prints upon traditionally wrought encaustic panels sways the past and the future back and forth, creating an obfuscation of historical and contemporaneous narratives, acutely paralleling Headlands’ histories that is at times follows the same patterns.

       

In addition to multiple mediums and assorted artistic approaches, “Present Tense” also unveils how some subversive techniques that deeply challenge the space can also call attention to the particular richness of  Headlands’ environment and history. This fracture between the artwork’s inherent qualities and its surroundings can throw an audience’s gaze while calling attention to the elements of its presentation, prompting awareness of the modes of seeing contextually and how meaning is constructed from this relationship. Kyle Austin Dunn’s sculptural installation in the stairwell,  Bunch of Heavy Lines remains blatantly defiant of the historic building by its very plasticity as well as its placement, stripping the stairwell of its utility for persons to gain access to and from the attic. Blocked from hitherto accustomed perambulations of the space, audiences are confounded to achieve any possible amelioration to the unyielding physical and aesthetic confrontation. They become deeply aware of their surroundings once rendered inaccessible by such a brazen obstruction. Joshua Band’s, Scenic Overlook, constructed by hundreds of photographs from not only the Headlands landscape but also the artist’ national road trips is at first a delightful and engrossing Arcadian installation wherein the viewer becomes to some degree an omnipotent presence among all Band’s travels. But, upon closer inspection the diorama’s haphazard photographic compilations from multiple travels and experiences as well as its miniature scale creates more of a disjointed, dizzying contemplation for audiences that leaves this  woodland diorama and the outer-lands it represents with a fabricated feeling that rather than pulling one into the scene, progressively pushes one out.  

Headlands Center for the Arts’ Graduate Fellowship program is unique in the country for addressing the critical juncture from an academic to a professional career. These fellowships give post-graduates from Bay Area academic institutions opportunities for professional development and a chance to define their practice outside the academic context. In addition to private studio space and public presentation opportunities including participation in this annual curated exhibition,  Graduate Fellows are active participants in Headlands’ creative community including engagement with the local, national, and international artists participating in Headlands’ various artist programs.

Present Tense will be at Headlands Center for the Arts through June 9.
http://sfartenthusiast.com/2013/05/present-tense-2012-13-graduate-fellows-exhibition-at-headlands-center-for-the-arts/

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Headlands Center for the Arts Spring Open House

April 21, 2013

Headlands Spring Open House

Screen Shot 2013-04-21 at 8.42.39 PM

Participating Artists

Ina Archer Joshua Band Laurel Braitman Jefre Cantu-Ledesma & Paul Clipson Steve Carr Sohyung Choi Luke Damiani Kyle Austin Dunn Liam Everett Victoria Gannon Brett Goodroad Jesse Hewit Cynthia Ona Innis Michael Koehle Sara Kraft Marya Krogstad Jennie Lin Mikael Lindahl Ali Naschke-Messing Tucker Nichols Kristian O’Hare Kari Orvik Jordan Perkins-Lewis Yulia Pinkusevich Meghann Riepenhoff William Rockwell James Sansing Erica Lorraine Scheidt Christina Seely Samantha Senn David Shrigley Scott Vermeire Emily Meg Weinstein Hazel White Will Brown

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Charleston City Paper: Yulia Pinkusevich will turn your world upside down Flip Flopper by Erin Holaday Ziegler

April 02, 2013

http://www.charlestoncitypaper.com/charleston/yulia-pinkusevich-will-turn-your-world-upside-down/Content?oid=4595032

Yulia Pinkusevich will turn your world upside down

Flip Flopper

by

Pinkusevich uses everything from ink to salt to create massive murals that mess with viewers' perceptionPinkusevich uses everything from ink to salt to create massive murals that mess with viewers’ perception

Reversion

Opening reception Fri. March 29, 6-8:30 p.m.
On view through May 4
Redux Contemporary Art Center
136 St. Philip St. Downtown
(843) 722-0697 Reversion
reduxstudios.org

Imagine the incredible: A giant man with a giant hand spontaneously grabs our densely populated downtown. He rips up King, Meeting, and East Bay streets from the ground and turns us upside down. The Holy City is practically hanging on marionette strings. Yet the layers of concrete, dirt, and buildings remain.

“The city is so prevalent. It feels like we’ve always lived this way,” Yulia Pinkusevich contemplates. “But I’m interested in looking at a much grander time frame … is this type of city obsolete? How permanent is this environment? Why does it exist and what is its influence?”

From the soaring steeples of King and Broad streets, to the pristine porches South of Broad, Charleston’s architecture defines us. Amidst the hustle and bustle of tourist season, Pinkusevich will make you stop and look up with her transformative exhibition Reversion, opening at Redux Contemporary Art Center on Friday.

Pinkusevich’s show is less commentary and more a question. A world turned upside down is the focal point of her site-specific installation at Redux, but also of her work as a whole. “Architecture is transformative,” she says. “It’s an icon and a symbol of whatever a city wants to put forth, and it affects how we live. I’m curious as to how long our cities will last. I think that my drawings try to ask this same question.”

Born in Kharkov, Ukraine, in the former U.S.S.R. and influenced by a life of international and domestic travels, Pinkusevich is a self-described city girl. Moving to New York City at eight years old was a pivotal moment in the young artist’s conscious understanding of architecture. “Being a Soviet kid, the Twin Towers held a symbolism,” she explains. “You identify a city through its architecture, like the Eiffel Tower or Golden Gate Bridge. I wasn’t old enough to understand everything then, but I had that visceral feeling — these structures are amazing, and they were made by humans.”

Using simple components, like chalk and salt, Pinkusevich helps audiences to see the wonder of our world in a different light. This interdisciplinary artist definitely looks up. A lot.

“We’re creatures of habit, and some of the most exciting moments in life for me are discovering something new or a realization when you think about something in a different way,” Pinkusevich says. “I like the idea of making you think about the impossible — visions of the mind that don’t exist in reality.”

On a more literal level, Pinkusevich is creating a large wall drawing at Redux that envelops the gallery’s entrance with a series of small salt sculptures. “Reversion” also includes a lens that reverses the optics of the wall drawing and plays with perception.

“My exhibit will be interactive,” Pinkusevich explains. “I want to engage with the viewer physically and with his or her perceptions as well. A lot of my work is of a scale meant to place the viewer within the image.”

When you first step into the gallery, the wall image is the first thing you see, but as you get closer, your gaze is drawn to other observers in front of you as you continue looking. “Everyone becomes a part of the piece,” Pinkusevich says.

The lens on the opposing wall adds another visual layer, reducing the size of the wall image and turning it upside down. “So you’ll see the city right side up — and tiny. That’s the paradox.”

Like most of Pinkusevich’s work, the title of her show has multiple meanings. The wall drawing is inspired by a drawing Pinkusevich did in 2009 that never came to fruition. This first solo exhibit also fully fleshes out concepts she intended for her MFA thesis at Stanford last year.

“It’s like going back to something I never fulfilled,” she explains. “In addition to looking at the shifting landscape of the city and the visual reversion provided by the lens, I feel like I’ve been able to marinate and really process my whole experience over the last year.”

Pinkusevich, who claims a diverse array of artistic influences (French symbolist Odilon Redon and German painter and sculptor Anselm Kiefer, among others) works in many mediums. “I do a lot of tests and play with concepts to see what comes of them,” she says.

Charcoal and chalk are freeing to the boundary-pushing artistic philosopher. Sculpture brings with it increased cost, engineering problems and takes a lot of logistical time. “Drawing frees me of mundane burdens,” Pinkusevich explains. “Wall drawing is a really pure form of art for me. You can’t sell it or reconstitute it. In that way, it frees me and allows me to make mistakes. My art exists in the moment. For me, that’s really rewarding.”

Unless you’re talking salt, of which Pinkusevich has 3,000 pounds in her Palo Alto, Calif. driveway. “Working with salt goes back to love to temporal materials,” she explains. “I’m trying to use something familiar and shift it into the sublime.”

Pinkusevich’s fragile salt sculptures are created through erosion using water. “You can control certain things, but other things just happen … it’s a really delicate science experiment,” she says. “Salt has this gorgeous quality — it kind of looks like marble and goes well with my monochromatic theme.”

Light and dark, heavy and weightless, the attrition of time — these ideas are essential for Pinkusevich and her viewers. “We are all creatures of habit, and in my work and in life I try to break out of particular habits,” she explains. “Allow yourself to think about time not through the human lifespan, but through a grander timeline. If you detach yourself from your ego and kind of pull back, looking out … you’ll see that our human civilization is just a speck on the trajectory of life on our planet.”

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University of Dubai Magazine Interview By Richard Labaki

http://www.uni.ae/2013/03/19/yulia-pinkusevich/

 

By Richard Labaki

Yulia Pinkusevich is a multi-disciplinary visual artist whose work is based on site-specific installations and immersive environments.  Her art is very distinct and she expresses it to convey deep philosophical concepts (the artworks ultimately deal with questions that she has about life in general.)  There is no one overarching concept that Pinkusevich is always delving into and exploring.  Each project is unique and has a basis in a particular idea or question.  One thread that has been running through her work in recent years, however, is concerned with global urbanization – a relatively new trend that Dubai understands far too well.  Pinkusevich questions how this recent trend towards massive urbanization affects humanity and the planet as a whole.  And how, if at all, this trend will affect the human psyche.

There is a haunting thread of morbidity or melancholy that interweaves your art-pieces.  There is also a sense of loss and confusion.  Do you agree with this perception?
Yes and no.  My work can be perceived as melancholic, because I am interested in form, composition and materiality in my art but less interested in colour and the individual experience.  Thus, my recent body of work has been devoid of people and largely monochrome.  To some, art that is lacking colour is perceived as austere.  But for me, it gets to the essence of form without the distraction of another element – colour!  The haunting perception can come from the concepts, which intrigue me.

For example, throughout my recent work I make images, which envision a world where contemporary architecture and modern cities are seen as relics of the past – long abandoned and in a state of reverting to its elemental forms.  Envisioning a place like this implies a post human planet – an idea that can make some people feel very uncomfortable.  But to me, this idea is wonderfully intriguing, because I am interested in exploring time through a different perspective – one that does not measure itself against a period of a human lifespan but instead thinks of time on a much grander scale.

Perhaps some see this as confusing.  But my intention is not to make people feel bad about the world but to allow their minds to expand beyond their normal way of thinking about time, space and architecture.

 

Are you a sci-fi fan?  It is as if a sci-fi feel permeates through many of your artworks.
Last year, a professor of mine at Stanford [Paul DeMarinis] said to me that he finds that artists from the Soviet Union naturally gravitate towards sci-fi aesthetics and concepts without doing so consciously.  It must be in our heritage.  Perhaps my personal history and background attracts me to the unexplainable things in life.  I am intrigued by looking at things from a different perspective and imagining a world through alternate realities.  To be frank, I am not a huge sci-fi movie fan.  I don’t like space adventure or horror films at all.  Though I do like the films of Andrei Tarkovsky; many of which are quite strange and out of this world.  I also love several fantasy and sci-fi writers such as Mikhail Bulgakov; his novel ‘The Master and Margarita’ is one of my favourite books, along with ‘Brave New World’ by Aldous Huxley.  I’ve also been into Philip K. Dick novels recently, so I guess I am a sci-fi fan after all!

Had you not been an artist, would you have been an architect today?
I have pondered this question before and the short answer is yes.  I seriously considered getting a Masters in Architecture several years ago; I was fortunate enough to have the opportunity to take a summer course in Architecture at Harvard University’s Graduate School of Design.  This Career Discovery course was intensive and taught me a lot about architectural design methodology.  I loved the program and did quite well in it.  But throughout my time there, I realized that I did not really want to be an architect as much as I wanted to acquire the skills of an architect in order to push my art to a new level.

I deeply respect great architects, because to me good architecture can be the highest form of art.  It is a structure for the public, which is experienced by people from all occupations.  It finds a perfect balance between form and function – it can be striking, complex, sophisticated yet humble or seemingly simple at the same time.  Throughout my study of architecture, I realized I wanted to make art that possessed these qualities – to create work that presents people with an immersive visual environment.  I am still working towards this goal in my art.  And I hope to pursue some larger scale, multifaceted installation-based projects in the near future.

How much time and effort did you expend in refining your unique artistic style?  And what were the major challenges in developing it?
It’s hard to answer this question, because I did not set out to create a “unique artistic style”.  When I was quite young, I realized that the work I was making then was not at all like the work I was attracted to when I went out to galleries and museums.  I started to ask myself a simple question, “If I saw this piece in a museum and didn’t know it was mine, would I like it?”  This stirred up many emotions in me, because I realized that the answer at that time was no.

So I made a list of the qualities in the artworks, which made me stop dead in my tracks.  The list ignored all superficial aspects such as popularity, price point, gallery affiliations etc.  Instead, it focused on something undefined – a personal gut reaction.  After practicing this for some time, I found that there were very particular qualities that I was attracted to.  With this in mind, I attempted to distil my own work down to its essence and consider the aesthetics, which I found myself drawn to.  What resulted was this linear, architectonic, monochrome work.  I cut out all excess – no figures and no colour in order to concentrate on what I was concerned with: Form, space, concept and composition.

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Reversion at Redux Art Center

March 16, 2013

Reversion: Work by Yulia Pinkusevich
March 29 – May 4, 2013

Redux Contemporary Art Center
136 St. Philip Street
Charleston, SC 29403
www.reduxstudios.org
843.722.0697

Redux Contemporary Art Center is proud to present Reversion: Work by Yulia Pinkusevich. Reversion is a site-specific installation that examines the urban city as a relic. It observes the urban structures of the 20th Century from a distant future gazing back at our moment in time. This installation questions the validity of skyscraper architecture and the impetus for the ever-growing density and rigidity of the contemporary built environment as well as its deployment within future systems. Imagine a world of densely layered urban dwellings. Skyscrapers and labyrinths of tunnels fill this vision. This world is disconnected from nature and unaware of its ambient environment. Humans are stacked in layers, living atop one another in soaring structures. The aggregate map of their psychology is manifested in the form of their city… and then imagine it destroyed.
Artist Residency: March 19 – 29, 2013
Opening: Friday, March 29, 2013 | lecture: 5:30 pm | reception 6 – 8:30 pm
On View: March 29 – May 4, 2013

All of our exhibitions are free and open to the public. Although PARKING is not available at Redux, there is on-street parking throughout downtown as well as two parking garages in close proximity.

Redux is a nonprofit organization in Charleston, SC committed to the cultivation of contemporary art through diverse exhibitions, subsidized studio space for artists, expansive educational programming, and a multidisciplinary approach to the creative dialogue between artists and audience.

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X Libris

November 15, 2012

MicroClimate Collective presents our second fall exhibition dealing with time, X Libris. Joining MicroClimate as a guest curator for this exhibition is Sarah Ratchye. We hope you can join us for the opening reception this Saturday, November 10th, from 7-10pm.

Glenna Cole Allee and Victoria Mara Heilweil
MicroClimate Collective

Exhibition Dates: November 7 – December 1, 2012

Root Division
3175 17th Street (at South Van Ness)
San Francisco, CA 94110
415.863.7668

Opening Reception: Saturday, November 10, 2012, 7-10 pm

Cocktail Hour/Closing Reception: Friday, November 30th, 2012, 5-8 pm

Gallery Hours: Wednesday-Saturday, 2-6 pm (or by appointment)*
*Please note that gallery will be closed November 22nd-24th in observance of Thanksgiving holiday

X Libris is an exhibition exploring the book as a mode of communication in flux. As we transition from the printed page to digital communication, our relationship to print changes as we enter the literary realm of binary code and multi-directional referencing and browsing. Once valued as a solitary activity requiring deep concentration, perusing written language is incrementally measured, and our attention fragmented. X Libris explores the book as a vulnerable, ephemeral, morphing form, in this time of accelerated transition to digital communication and “real-time.”

Artists:
Alexis Arnold
Lauren Bartone
Julia Bradshaw
Laura Chenault
Sarah Christianson
Christine Elfman
Emily Eiffler
Julia Goodman
Matt Gualco
Samuel Levi Jones
Kate Jordahl with Don Drake
Pantea Karimi Michael Kerbow
Wendy Kramer
Steven Vasquez Lopez
Klea McKenna
Camilla Newhagen
Yulia Pinkusevich with Glenna Cole Allee
Maria Porges
Megan Prelinger
Leah Rosenberg
Brian Taylor
Nanette Wylde
Jody Zellen

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Artwork Credit (left to right): Leah Rosenberg, Maria Porges, Alexis Arnold

Support for MicroClimate Collective and the publication accompanying the exhibition X Libris is provided by Southern Exposure’s Alternative Exposure Grant Program.

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Introductions 2012

September 28, 2012

SECOND SATURDAY SEPTEMBER 2012
Introductions 2012

 

INTRODUCTIONS 2012
Juried by Sergio De La Torre, Valerie Imus, & Kimberly Johannson
Opening Reception: September 8, 2012
Including CREATIVE STATION
Exhibition Dates: September 6-29th, 2012

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