Volley

Round 9: A Porous Line
Featuring new work by Nadia Ayari & Edwin Smalling
November 14th – 21st, 2017
Reception on Saturday, November 18th, 7-9 PM
Please join us for Round 9 of Volley: A Porous Line. Ayari and Smalling have in the recent months independently turned to Tracy Champan’s 1988 self-titled debut for solace, but also motivation; commiseration and resolve.  

Sweet lazy life
Champagne and caviar
I hope you’ll come and find me
Cause you know who we are
Those who deserve the best in life
And know what money’s worth
And those whose sole misfortune
Was having mountains o’ nothing at birth
Oh they tell me
There’s still time to save my soul
They tell me
Renounce all
Renounce all those material things you gained by
Exploiting other human beings
Consume more than you need
This is the dream
Make you pauper
Or make you queen
I won’t die lonely
I’ll have it all prearranged
A grave that’s deep and wide enough
For me and all my mountains o’ things

Mostly I feel lonely
Good good people are
Good people are only
My stepping stones
It’s gonna take all my mountains o’ things
To surround me
Keep all my enemies away
Keep my sadness and loneliness at bay

– Excerpt from Mountain o Things by Tracy Chapman, 1988

Works on View:
Nadia Ayari, Lattice IV, oil on linen, 27 x 27 inches, 201
Edwin Smalling, Dance III, acrylic, polyester, poplar, 96 x 34 x 89 inches, 2017

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PREVIOUS ROUNDS

Round 8: Courtships

Featuring new work by Nadia Ayari & Ellie Krakow
November 5th – 12th, 2017
Reception and Readings | Saturday, November 11th, 7-9 PM

“Against the over heated humanity of room temperature or any every day  self expression and rather imbibe the anarchic arctic immolations in your throat.  This chilled consensual cessation is just ice in a world toasting teleological  terror. Anyway, life is best when porous borders let translucent aliens probe your  almost sacred sexual systems”
-Maxine’s Probe by Daniel Feinberg, 2017

“10. If we are now in reverse and by continuing to reason in this way are likely to  arrive back at the beginning of the question of the blinding of Stesichoros either  we will go along without incident or we will meet Stesichoros on our way back.
11. If we meet Stesichoros on our way back either we will keep quiet or we will  look him in the eye and ask him what he thinks of Helen.
12. If we look Stesichoros in the eye and ask him what he thinks of Helen either he will tell us the truth or he will lie.”
-Excerpt from Appendix C, Autobiography of Red by Anne Carson, 1998

Nadia Ayari
Pink Marble IV, fresco on marble, 5 x 13 x 5 inches, 2017
Lattice I, oil on linen, 27 x27 inches, 2017

Ellie Krakow
Arm Armature (Modular – Iteration #2), glazed ceramics, photographs on aluminum, wood and paint, table 40 x 65 x 34 inches, image and object dimensions vary depending on iteration, 2017

Please join the artists on Saturday, November 11, 7 PM in the gallery, as part of the reception, Ayari and Krakow will read poetry and prose that informs their thinking and artwork. 

This exhibition exists as part of Volley, a series of overlapping, two-person exhibitions and an experiment that foregrounds conversation and collaboration as essential aspects of artistic production. Volley’s dynamic structure formulates the exhibition as an active site that aims to stimulate dialogue between the participating artists as they engage each other’s work over the course of three months. The open-ended, evolving format of the project allows for a fluidity that, like a conversational tangent, inflects subsequent iterations. Volley is on view from September 1st – November 21st, 2017.

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ROUND 7: Curtain Call
New work by Cindy Ji Hye Kim & Ellie Krakow
October 27th – November 3rd
Reception and performance on Thursday, November 2nd, 7 PM

Curtain Call opens up a conversation between the artwork of Cindy Ji Hye Kim and Ellie Krakow. By exploring generalized shapes and gestures, and misplaced points of view, both artists play with the idea of display and spectatorship. Dark humor and intermittent laughter underlay the dialogue between the two artists – Krakow using sculpture and photography, and Kim with drawings and animation.

Playing with pictorial depth and visual symbols, Kim is interested in stepping in and out of the picture as an observer, a voyeur, and a witness. Her work utilizes the visual language of cartoons to simplify and generalize shapes, reconstructing figures and objects into instruments of vision and deception. As an image maker whose background is in illustration (image as a codependent of text) and animation (images in linear sequence), Kim has a different set of art historical affinities and interests in regards to painting; its Western modernist discourse and the medium’s historical baggage as an autonomous flat object. She considers sound and movement to be integral in this body of work. Utilizing their absence in the medium of still images as her narrative backdrop, these ink drawings explore the psychological space of perception and memory.

Krakow engages seriously and playfully with the posturing, transformation and loss that armatures and display tactics represent. Her studio practice is circular. She takes photos of armatures that exist in the world – from posing stands used in early portrait photography to museum armatures that display ancient fragments. She makes ceramic sculptures based on her research photos; she then poses her arms in gestures that mimic her sculptures; and returns full circle to make sculptures that copy the photos of her arms. This game of call and response also informs the display of the pieces – Krakow plays with the photos and sculptures like a puzzle or a rubix cube. The furniture-pedestal for Arm Armature (Modular) is designed so that her sculptures and photographs can be positioned in various configurations, that shift and change over the course of an exhibition.

Cindy Ji Hye Kim
Thirty Frames Per Second
HDV on loop
2016

Ellie Krakow
Arm Armature (Modular – Iteration #1)
glazed ceramics, photographs on aluminum, wood and paint, table 40 x 65 x 34 inches, image and object dimensions vary depending on iteration
2017

This exhibition exists as part of Volley, a series of overlapping, two-person exhibitions and an experiment that foregrounds conversation and collaboration as essential aspects of artistic production. Volley’s dynamic structure formulates the exhibition as an active site that aims to stimulate dialogue between the participating artists as they engage each other’s work over the course of three months. The open-ended, evolving format of the project allows for a fluidity that, like a conversational tangent, inflects subsequent iterations. Volley is on view from September 1st – November 21st, 2017.

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ROUND 6: Jackknife
New work by Cindy Ji Hye Kim and Emily Kohl-Mattingley
October 18th – October 25th, 2017
Reception and performance on Saturday, October 21st, 7 PM

To hide, to ignore, to move about without acknowledgement. Sit. To be non-confrontational, to be ignorant of, to deny. Sit. Move away, move around. Sit. Glimpse, agitate, confront. Sit. Conceal. Sit. Conceal. Sit. Conceal. Sit. 

Reveal. 

A disciplined row of plastic strips
Will teach you a lesson.
Straighten up, sit tight,
To those who doesn’t behave.

With every pull, their bony teeth
Take joy in untangling.
Calm down, sit tight,
Their task is to resolve.

And hold it in its place,
Grease and dirt and dust – all underneath.
Stay still, sit tight.
Your job is to observe.

————————————-

Cindy Ji Hye Kim
S.P.A.M 2017
Recipe by Tyler Steinbrenner and packaging design by Yung Hu
dimensions variable 

Emily Kohl Mattingley
Sit, 2017
glazed stoneware, wood, acrylic latex paint
dimensions variable

Please join the artists on Saturday, October 21st, 7 PM in the gallery, Kelsey Kramer will perform movement choreographed by the artists. A reception will follow.

Kelsey Kramer (Dancer) is a Brooklyn based arts educator, administrator, dancer, and choreographer. She graduated from James Madison University with a BA in Dance and Communications Studies in 2014. Since moving to New York, Kelsey has taught for several schools in the NYC area, worked as Programs and Communications Manager for Shannon Hummel/Cora Dance, and has had the pleasure of performing for LuisaInnesFree Dance, Sarah Burke, and Cora Dance. Her own work has been seen at SITUATIONS Gallery in Chinatown, the Cora Studio Theater in Brooklyn, Dogtown Dance Theater in Virginia, internationally in China, and was selected for the Gala Performance at the 2013 American College Dance Association Mid-Atlantic Conference in North Carolina. She was the co-director of the Associate Dance Ensemble at James Madison University and a guest choreographer for the Cora Youth Company (CYC) in 2016. In 2017 Kelsey co-founded JACKS, her most recent choreographic endeavor with artistic partner Lexie Thrash.

This exhibition exists as part of Volley, a series of overlapping, two-person exhibitions and an experiment that foregrounds conversation and collaboration as essential aspects of artistic production. Volley’s dynamic structure formulates the exhibition as an active site that aims to stimulate dialogue between the participating artists as they engage each other’s work over the course of three months. The open-ended, evolving format of the project allows for a fluidity that, like a conversational tangent, inflects subsequent iterations. Volley is on view from September 1st – November 21st, 2017.

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ROUND 5: Pitch
New work by Ben Browne and Emily Kohl-Mattingley
September 9th – October 16th, 2017

Please join the artists on Tuesday, October 10th at 7pm in the gallery, as yoga instructor Nora Heilmann leads a 20-minute breathing/meditation exercise. A reception will follow. 

Nora Heilmann is a Brooklyn-based yoga teacher sharing the art of asana (posture), pranayama (breathing techniques), meditation and yoga philosophy. Originally from Germany, Nora studied and lived in Amsterdam for 15 years where she worked as a choreographer and performance artist, before moving to New York City in 2013. Her main inspiration comes from Clive Sheridan (Hatha Yoga, Tantra, Vedanta, pranayama, meditation), Richard Freeman (Ashtanga Yoga, yoga philosophy), and Michael Stone (Zen Buddhism, meditation, yoga, social activism). She has completed over 1600 hours of teacher training in yoga and meditation and has been teaching since 2007. She is a guest lecturer at the 300-hrs Advanced Teacher Training at YogaWorks. She lives with her wife Tamar Samir and cat Emme in Brooklyn. Nora and Tamar co-teach yoga retreats in the US and abroad. 

This exhibition exists as part of Volley, a series of overlapping, two-person exhibitions and an experiment that foregrounds conversation and collaboration as essential aspects of artistic production. Volley’s dynamic structure formulates the exhibition as an active site that aims to stimulate dialogue between the participating artists as they engage each other’s work over the course of three months. The open-ended, evolving format of the project allows for a fluidity that, like a conversational tangent, inflects subsequent iterations. Volley is on view from September 1st – November 21st, 2017.

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ROUND 4: Recess
New work by Ben Browne and Russell Perkins
September 30th – October 8th, 2017
Lecture and Reception on Thursday, October 5, 7 PM

The works on view describe a negative space, a background made of edges that collectively hold up and point to communication as a material event.

Ben Browne
Template (after 20.2.44: Funerary Tablet, 1 BC- 4 AD, Limestone, 14 15/16”) + Volley (with thanks to Edwin Smalling). Gypsum-based composite resin, fiberglass, gouache, MDF and acrylic

Russell Perkins
evaporator/condenser. Inkjet print on 45gsm, 27lb tinted newsprint, fabricated at the Braviken Paper Mill in Norköping, Sweden for the Financial Times, wheat-pasted onto SUNTUF® UV-blocking polycarbonate, with cast plaster support

Please join the artists on Thursday, October 5th at 7 PM in the gallery, as art historian Sarah Madole discusses her research of ancient fragments. A reception will follow.

This exhibition exists as part of Volley, a series of overlapping, two-person exhibitions and an experiment that foregrounds conversation and collaboration as essential aspects of artistic production. Volley’s dynamic structure formulates the exhibition as an active site that aims to stimulate dialogue between the participating artists as they engage each other’s work over the course of three months. The open-ended, evolving format of the project allows for a fluidity that, like a conversational tangent, inflects subsequent iterations. Volley is on view from September 1st – November 21st, 2017.

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ROUND 3: Surface Tensions
New work by Amanda Turner Pohan and Russell Perkins
September 20th– September 30th, 2017
Performance and Reception Thursday, September 28th, 7 PM

What would you use to strain your eyes? Employing sculpture, image and scent, Surface Tensions focuses on how the physical juncture of the screen mediates between digital space and the body. Works on view are as follows:

Russell Perkins
evaporator/condenser. Inkjet print on 45gsm, 27lb tinted newsprint, fabricated at the Braviken Paper Mill in Norköping, Sweden for the Financial Times, wheat-pasted onto SUNTUF® UV-blocking polycarbonate, with plaster, plywood, and ABET® laminate.

Amanda Turner Pohan
(my mother’s) liquid crystal display dust. Pulverized LCD cell phone and laptop screens owned by the artist’s deceased mother, plexi glass, archival spray adhesive, fluorescent light smear. Artificial Sebum ASTM D4264-14, glass window waft. Synthetic human pheromone, HVAC filters, HVAC vents

Please join the artists on Thursday, September 28th at 7 PM, as artist Alina Tenser performs in the gallery, activating the work. A reception will follow.

This exhibition exists as part of Volley, a series of overlapping, two-person exhibitions and an experiment that foregrounds conversation and collaboration as essential aspects of artistic production. Volley’s dynamic structure formulates the exhibition as an active site that aims to stimulate dialogue between the participating artists as they engage each other’s work over the course of three months. The open-ended, evolving format of the project allows for a fluidity that, like a conversational tangent, inflects subsequent iterations. Volley is on view from September 1st – November 21st, 2017.

Press Release »

Round 2: Slow Lick
Mira Dayal and Amanda Turner Pohan
September 10th – September 18th, 2017
Artist talk and reading Thursday, September 14th, 7 PM

This is a slow lick. 

The floor and walls of the gallery have been washed with artificial saliva, leaving a thin coating throughout; digital prints from film developed with the same substance are adhered to the wall using a mix of the bio fluid and an adhesive; a pipe in the ceiling slowly drips the synthesized spit onto a single negative atop a light box; bar soap ends molded by the hand of a bather were re-lathered and stuck to the floor with saliva.

Please join Mira Dayal and Amanda Turner Pohan on Thursday, September 14th at 7 pm for a reading and conversation on the occasion of their exhibition Slow Lick at Abrons Art Center. Joining them will be writer Steven Zultanski, who will share an excerpt from his poem Agony, and independent curator Alison Burstein, who will lead a conversation with the artists and poet.

Alison Burstein is an independent curator. She has staged exhibitions at NURTUREart (Brooklyn, NY), Knockdown Center (Queens, NY) and the Museum of Jurassic Technology (Los Angeles, CA). In previous roles directing programming at Recess and working as a member of the education departments at MoMA, the Guggenheim Museum, and the Brooklyn Museum, she organized a wide array of public programs, performances, experimental classes, and artist projects. Burstein is a master’s student in Art History at Columbia University.

Steven Zultanski is the author of four books of poetry, most recently Bribery (Ugly Duckling Press, 2014) and Agony (BookThug, 2012). His critical writing has appeared in 4 Columns, Art in AmericaLos Angeles Review of BooksMousse, and elsewhere. In January 2017, an art exhibition inspired by his writing, entitled You can tell I’m alive and well because I weep continuously., showed at the Knockdown Center in Queens.

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Round 1
Edwin Smalling and Mira Dayal
September 1st – September 8th, 2017
Reception Thursday, September 7th, 7-9 PM

EDWIN
The painting begins life as a drawing, many drawings. Matured over time, they merge and migrate to finally dematerialize into the digital layers of a Photoshop file.

Each layer is individually projected onto a surface that is also screen. This particular screen was sewn together from three polyester panels, each dyed a different color and each prone to receive and respond to color in its own idiosyncratic way.

This work, an exception, was produced outdoors, never subject to the projector’s light. The layers were manually, carefully, painted from one [digital] screen onto the [physical] screen of the painting. Amidst this translation, some information was gained, some lost [though it is hard to say which, as what was supposedly lost could not be determined from either image alone].

[The painting was then scanned in the studio with a handheld device that, like a projector, emits light. It was scanned in bands, each the width of the scanner itself, which were then sewn together in Photoshop using the original dimensions of the unstretched painting as a guide.]

[Within the digital image, each panel was split apart so that it could be printed on a separate panel. Each of these prints were then sewn back together to create a composite image, resembling the painting from which it was scanned. Some information was gained, some lost, though it is hard to say which, as what was supposedly lost could not be determined from either image alone].

[MIRA]

This exhibition includes two of the nine participating artists: Edwin Smalling and Mira Dayal. Extracting

the parasitic potential from a collaborative working relationship, the exhibition turns on the act of exchange—a base image oscillates from one surface to another, revealing the layers of digital information that were compiled and then deconstructed to create a “host” image and its parasitic counterpart. Framed jointly in the gallery, the two works speak to dependency, trust, and an underlying aggressively.

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VOLLEY ARTISTS

Nadia Ayari is a painter living in Brooklyn, NY. She has had solo projects at Luce, Turin, Monya Rowe, New York, The Third Line, Dubai, Taymour Grahne, New York, Untitled, Miami Beach and has participated in the 12th International Cairo Biennale, the 3rd Thessaloniki Biennale and Art Dubai Projects. Her work has also been exhibited in venues including the Saatchi Gallery, London, and Monica DeCardenas, Zuoz, Gallery Diet, Miami, DC Moore, New York, Samson Projects, Boston, Maraya Art Center, Sharjah, Institut Du Monde Arabe, Paris, and the American University Museum, Washington DC.

Ben Browne is a New York based artist and MFA candidate in Combined Media at Hunter College in New York City. As an Evelyn Kranes Kossak Travel Grant recipient, Browne traveled to Spain to research the production of three-dimensional facsimiles of old-master paintings for the exhibition “Touching the Prado,” an educational initiative designed to make paintings accessible to non-sighted visitors to The Museo del Prado in Madrid. 

Mira Dayal is an artist, writer, editor, and curator based in New York. Her work engages with materials and language through responses to surfaces, textures, processes and translations. She is currently an artist in residence with A.I.R. Gallery.

Cindy Ji Hye Kim was born in Anyang, South Korea and currently lives and works in Bronx, New York. She received her B.F.A. from the Rhode Island School of Design in 2013 and her M.F.A. from the Yale University School of Art in 2016. Her work has been featured in solo presentations at Helena Anrather, New York and YYZ Artists’ Outlet, Toronto. She has shown in group exhibitions at Situations, New York; Thierry Goldberg Gallery, New York; 1969 Gallery, New York; Mulherin, Toronto; FJORD Gallery, Philadelphia; and the Abrons Art Center, New York. Kim has been awarded residencies from The Banff Centre, Banff, Alberta; Vermont Studio Center, Johnson, Vermont; Ox-Bow, Saugatuck, Michigan; Grin City Collective, Grinnell, Iowa; and Salem Art Works, Salem, New York.

Ellie Krakow is a conceptually driven sculptor who works hands-on with materials. She earned her MFA from Hunter College, attended Skowhegan School of Painting and Sculpture, and earned her BA through study at Yale and RISD. Recently her work has been exhibited at Miranda Kuo Gallery, NURTUREart, Spring/Break Art Fair, Field Projects, Present Company and Wasserman Projects.

Emily Kohl Mattingley lives and works in Brooklyn, New York. She received her BFA in 2013 from Rutgers Mason Gross School of the Arts, NJ.  Recent exhibitions and screenings include: Situations, New York, NY 2017 (group screening); Rose Gallery, Redhook, Brooklyn 2016 (solo screening); Beatriz Viterbo Gallery, Queens, NY 2016 (two person exhibition); Xoomba Loft, Brooklyn, NY 2015 (group exhibition); No Holds Barred, New York, NY 2015 (group exhibition). Kohl-Mattingley co-curated Rose Gallery, Redhook, Brooklyn from August 2015 through February 2017. She attended residencies Akademie der Bildenden Künste München Exchange 2013, and Vermont Studio Center 2013.

Russell Perkins is a student in the Hunter MFA program, and Lazarus Fellow at the Artist’s Institute. Previously, he studied comparative literature at Wesleyan University and philosophy at the University of Oxford on a Rhodes Scholarship. 

Amanda Turner Pohan was born in New Jersey and received a BFA from The School of Visual Arts and an MFA from Hunter College. Pohan’s immersive sculptural environments of scent, sound, text, video and performance have been shown in California, Canada, Mexico City, and New York. Her upcoming solo show at SOHO20 gallery in Brooklyn addresses the threshold of digital and physical embodiment through a Second Life avatar named Linqox Criss. Pohan is a co-founder of Temporary Agency, an artist-run nomadic platform for exhibitions and publications and founder of TWOFORTY, a loft/project space in South Williamsburg, Brooklyn.

Edwin Smalling is an artist living in Brooklyn, NY. He makes drawings and paintings that form an autobiography of the everyday. He received an MFA from Yale University in 2016 and has since participated in numerous group shows in and around New York City.