Designer Thomas Perrone, a student at the Art Institute of Philadelphia in collaboration with Jason Mouser has created a chess set using the architectual work of Spanish-born Architect Santiago Calatrava as source material.
The set depicts the Tenerife Concert Hall in the form of Pawn, the Valencia Opera House as Rook, the Communications Tower as Knight, the 80 South Street Housing as Bishop, the Fordham Spire as Queen and the Turning Torso as the King.
Tom and and Amanda have rounded up another great panel discussion for the final night of our show at apexart. If you are in New York please check it out.
Saturday, May 22: 4-6 pm
291 Church Street, NYC, 10013
Thom Donovan and Sreshta Rit Premnath, at the invitation of Museo magazine, will interview Svetlana Boym and Matthew Buckingham about the potential of unrealized futures.
Svetlana Boym’s theorizing of “Nostalgia” and the “Off Modern” and Matthew Buckingham’s re-engagement of forgotten histories are apt points of departure for what they are calling an Archive of the Future Anterior.
With these interviews Donovan and Premnath introduce their video project in which artists, writers, scientists, and colleagues from various disciplines discuss unrealized social and/or personal projects. By producing an archive of futures which have yet to come to pass perhaps it is possible to alter the course of the future, as well as change the way we narrate and remember the past.
“The tense of the future anterior (French: Future auxiliary verb + past participle) is one of potentiality. Within any given present, it images what will have been before an event actually comes to pass. To return to the moments of bifurcation is an objective of our Archive of the Future Anterior. An archive which wishes to serve less as a time-capsule than a provisional index of loss or misplaced futures; where future has not yet become past and multiple futures remain compossible within a single present.”
–from Proposal for An Archive of the Future Anterior
Thom Donovan lives in New York City where he edits Wild Horses of Fire weblog and coedits ON Contemporary Practice. He is a participant in the Nonsite Collective and a curator for the SEGUE reading series. His criticism and poetry have been published widely in BOMB, PAJ: performance + art, Modern Painters, and at the Poetry Foundation where he currently blogs. He holds a Ph.D. in English literature from SUNY-Bflo and is an adjunct professor at Bard College and School of Visual Arts.
Sreshta Rit Premnath lives and works in New York City. He is an artist, curator and founder and editor of the magazine Shifter. He received his MFA from The Milton Avery Graduate School of Fine Art at Bard College and was a 2008 studio fellow at The Whitney Independent Study Program.
Svetlana Boym is a writer, theorist, and media artist who leads parallel lives. She has participated in numerous media exhibits and is the author of several books, also contributing to journals such as Artforum, ArtMargins, Cabinet, Punto de Vista, Critical Inquiry, Representations, Poetics Today, and Harpers’s Magazine. Boym teaches in Comparative Literature at Harvard University and is an Associate of the Graduate School of Design. Native of St. Petersburg, Russia, she now lives and works in Cambridge, MA.
Matthew Buckingham is a New York-based artist who utilizes photography, film, video, audio, writing, and drawing to question the role social memory plays in contemporary life. Buckingham’s work has been shown at numerous institutions around the world, including The Museum of Modern Art, New York; the Moderna Museet, Stockholm; and the Corcoran Gallery of Art, Washington, DC, among several others. Buckingham received his B.A. in film production and film studies from the University of Iowa in 1988, and in 1996 he completed an M.F.A. at Bard College. In 2003 he was awarded a Deutscher Akademischer Austausch Dienst (German Academic Exchange Service), and in 2004 he was awarded a Henry and Natalie Freund Teaching Fellowship at the Washington University School of Art, St. Louis. Buckingham also serves as an external tutor at the Art Academy in Malmö, Sweden.
I ran across Brazilian Designer Sergio Bergocce’s take on the age old problem of bathroom signage a which I always considered to be a great visual trope to play with since is so universal/human and yet not obvious how to simplify visually unlike running or age.
Sergio Bergocce’s take I thought was both fresh and humorous while in step with the current trend of re-imagining 80′s themes of color & shape that seem to be coming back in style. Thought you all would like to see.
As reported on Abitare a group of cyclists dumped 13 gallons of water soluble different colored paint in the various lanes of traffic on the busy Rosenthaler Platz in downtown Berlin. In a mater of seconds the entire plaza became a mix of pink, blue, yellow & purple with the group putting up signs that the paint would easily wash away with little water.
Scott Wolniak was the proprietor of Suitable, an alternative (garage) space in Humboldt Park, from 1999-2004. He started the space after receiving his MFA from the University of Illinois at Chicago and ended it when the roof collapsed. The goal of Suitable was to provide young Chicago artists with an opportunity to show their work. Recently, Wolniak curated a show at Western Exhibitions consisting of videos that had been seen years earlier at Suitable. In conjunction with the exhibition, Suitable Video, Wolniak released a limited edition compilation of the works under the same name. Suitable Video: Volume 1 has a run-time of about an hour and includes work from Charles Irvin, Julia Hechtman, Sterling Ruby, John Neff, Kirsten Stoltmann, Marc Schwartzberg, Paul Nudd, Reed Anderson & Daniel Davidson, Sarah Conway, Miller and Shellabarger, Ben Stone, and Siebren Versteeg.
Sterling Ruby’s contribution, Cook, is a one minute montage that combines several documentary-style sequences of clandestine meth labs while a distorted voice over repeats, “I’m a chemist, I’m a cooker, I’m a manufacturer, and a distributor. I’ll do whatever the fuck I want in the privacy of my own home.” The phrase is oddly catchy and I found myself singing it throughout the day. Paul Nudd’s Wurmburth also stuck with me, out of disgust, it’s really gross. I said this to a friend and she asked “Gross-sexual or gross-dirty?” For three minutes an amorphous phallus goes in and out of various neon green caverns, while smoke, mucus, and spit ooze out. It’s both dirty and sexual. The piece I enjoyed most was Untitled (Nixon/HAL) by John Neff. In it a man gives two monologues against a solid blue background. The first is a statement that was prepared for President Nixon in the event of a moon disaster and the second is HAL’s final monologue from 2001: A Space Odyssey. The melodrama and humanity of the texts are rendered emotionless by their messengers, creating an amusing tension.
I was a film student at the School of the Art Institute of Chicago and I recognized a few of the pieces from my video classes. During my senior year of college I wouldn’t have considered Sterling Ruby young, Chicago-based, or in need of exhibition opportunities. When I saw these works at school they were presented out of context, completely removed from the community that is very apparent when I watch the Suitable Video anthology. “There is no thematic or conceptual agenda,” Wolniak acknowledges in his curator’s note. “There is a tangible sense of utility in much of the work– they do not seem fussed over, they communicate directly.” Unfussy, direct communication is a fitting theme for a compilation meant to encapsulate the efforts of a DIY exhibition space. These type of spaces pop up when a group of artists, with the help of their most entrepreneurial peers, need the most immediate way to connect with an audience. Alternative spaces stop being effective once they fulfill that need and when they close their doors, they take that history with them. Last year’s Artists Run Chicago at the Hyde Park Art Center was one way of telling the history of alternative spaces, Suitable Video is another.
Suitable Video: Volume 1 is available at Golden Age in Chicago.