THE INVITATIONAL AT KUNSTHALLE GALAPAGOS

THE INVITATIONAL

Curated by Julie McKim, Erik Hougen, Gracie Kazer, Wyatt Nash, Daniel Kingery

Kunsthalle Galapagos

Opening on Thursday March 06, 2014, From 6:00 PM to 9:00 PM
On View March 06, 2014 - April 06, 2014

THE INVITATIONAL opens on Thursday, March 6th with dual opening parties: 6-9pm @ 111 Front Street, #212 / 9pm-late @ 16 Main Street 

Kunsthalle Galapagos opens The Invitational, a multidisciplinary group exhibition that presents over 50 artists and spans two galleries in DUMBO, Brooklyn. Curated collaboratively by its 5 members Julie McKim, Erik Hougen, Gracie Kazer, Wyatt Nash and Daniel Kingery, it is an investigation into the art production encountered over the past year. In the spirit of the Kunsthalle’s large inaugural group show, The Invitational highlights our artist-centric mission and is a preview of things to come. The exhibition showcases an array of disciplines and mediums, including performances and site-specific installations. Artists included are both new to the Kunsthalle and those who have exhibited in the past. Opening night performance by Tif Robinette. After party and artist DJs after 9pm. 



Artists: Bill Abdale, Ketuta Alexi-Meskhishvilli, Justin Amrhein, Caitlin Bermingham, Elia Bettaglio, Sonya Blesofsky, Noah Breuer, Joseph Burwell, Blake Carrington, Katie Cercone, Laura Charlton, Matthew Conradt, Mary Cosh Cook, Angeles Cossio, Grayson Cox, Aurora de Armendi, Michael Dominick, Jason Duval, Brad Ewing, Amanda Friedman, Jared Friedman, Delia Gonzalez, William Hempel, Erik Hougen, Kysa Johnson, Leslie Kerby, Daniel Kingery, Shaun Leonardo, Eric LoPresti, Hannah Mishin, James Moore, Fumi Nakamura, Wyatt Nash, Stephen Neidich, Eric Oglander, Patrick Paine, Alejandro Almanza Pereda, David Pierce, Rit Premnath, Mark Reigelman, Naomi Reis, Tif Robinette, Alan Ruiz, Jose Luis Cortes-Santander, Justin Sanz, Sarah Shebaro, Albert Shelton, Kyle Simon, Chris Stackhouse, Jomar Statkun, SuttonBeresCuller, Keigo Takahashi, Jeff Thompson, Jason Villegas, Leah Wolff, Doug Young, Zhe Zhe, Jeremy Zini 

Kunsthalle Galapagos is run by artists and curators who curate and work collaboratively. We are a multi-disciplinary artist-centric space that presents emerging and established artists who actively challenge convention. We think of the space as a hub for artistic experimentation. 

For further information: please contact julie@kunsthallagalapagos.com or gracie@kunsthallegalapagos.com

ˈÄBJƏKT - GROUP SHOW AT 111 FRONTSPACE GALLERIES IN DUMBO

Opening:  Friday, July 20th, from 6-9 pm, at 111 FrontSpace Galleries, ST 200 Dumbo Brooklyn

Curated by Sara Grace Powell

Here is the link to ArtCat

“Sculpture is made with two instruments and some supports and pretty air”- Gertrude Stein.

Stein’s pithy remark, innocuously hidden in an appendix of a text published only after her death, betrays a modernist preoccupation with form and holding as shape. However, Stein’s words lack the finality of much modernist rhetoric, perhaps anticipating the playful, ephemeral nature of the generations of artwork to come. To this point, the works in ˈäbjəkt challenge notions of autonomy and preciousness in sculpture. By destabilizing the artistic and physical autonomy of modernist sculpture, the works make a feminist intervention in space. Ann Greene Kelly, Ruby McCollister, Brie Ruais, and Leah Wolff probe the concept of “pretty air” as activator. So too, the exhibition’s title (object spelled in the phonetic alphabet) is only truly realized through the “air ” essential to its utterance.

Each works in ˈäbjəkt contains vestiges of Stein’s sculptural trifecta. Tangible materials—plexiglass, carpet, clay, plaster, cement—serve as “supports” as Stein uses the term. Along with these, however, more illusory mediums make their presence known through absence. The “two instruments:” the artists’ hands, evidence of fabrication, of corporeal labor. The “pretty air:” evaporation, time, and projected social personas. This trifecta (instruments, supports, air) functions less as a stable definition than an alchemical point of departure. Abandoning a unilateral subject-object relationship, the viewer experiences the pieces circuitously—their physical existence is saturated with ectoplasmic evidence of gestures less tangibly present. In place of a modernist sculptural milieu, the exhibition fosters a space in which the tangible and supposedly evident come into question. Those who enter the space must negotiate their own experiences of vulnerability to “pretty air,” an air that leaves traces rather than providing finite answers.