Photo by Miho Suzuki
Derby: September 6th on 17th Street, between 5th and 6th Avenues.
(every car built out of found material can be part of the race!)
All drivers have to arrive at 11am at 306 17th Street.
The race starts at 11:30am
Kids ages 7-15: 11:30am
July 28th – August 1st ($430 age: 7-12 years)
August 4th – 8th ($430 | age: 7-12 years)
August 11th – 15th ($430 | age: 7-12 years)
August 18th – 22nd ($430 | age: 7-12 years)
August 25th – 29th ($430 | age: above 10 years)
September 2nd – 5th (4 days – $350 | age: above 12 years)
In Open Source Gallery’s Soup Box Workshop (now located at Splats and Squiggles space at 539 3rd Ave (between 13th and 14th streets), children aged 7 to 15 learn to construct functional, eco-friendly soap box racers out of recycled materials. Under the strict supervision of our watchful counselors, campers are introduced to a variety of tools, from the basic nails, hammers, and hand saws to drills, screws and power sanders. We will be encouraging the campers to plan their design on paper with sketches, notes, and calculations and to think out of the box! Time will be spent outside collecting found objects and additional building materials, and the cars will be tested at each stage of their construction in front of the gallery and in the playground down the block. During the lunch hour the kids will be brought down to the playground to eat and have free play, or time can be spent with kids continuing work on their cars depending on their progress.
The workshop has received rave reviews over the past 5 years from publications such as Brooklyn Independent Television, Daily News (a 2-page spread!), Popular Mechanics, Park Slope Courier, and Brooklyn Paper, to name a few.
The culmination of the workshop is the annual soap box derby on 17th street .
17th Street between 5th and 6th Ave, South Slope
All participants, families, and friends are invited to come to the derby, and everybody is welcome to participate!
June 7th – June 28th, 2014
Opening Reception: June 7th, 7-9pm
Act #4: Super Defence Force vs The Tittanno Beasts (The Power of the Constructonauts), July 7th, 2014
Mark Stilwell presents “The Super Defense Force vs The Tittanno Beast (The Power of the Constructonauts),” an installation and performance at Open Source Gallery.
“The Super Defense Force vs The Tittanno Beast” is a series created in installments by Stilwell along with a group of like-minded artists and musicians. Co-written by father-son duo, Charlie and Scott Adkins, the series follows the Constructonauts, super-powered robotic builders of the utopian cities of the future. In the latest installment, “The Power of the Constructonauts,” problems erupt when the Constructonauts build their latest city on ancient ground, spawning a powerful and deadly strain of Tittanno Beast called the Kreonoids. The series takes inspiration from childhood nostalgia and the fantasies through which children examine the real world. “The Super Defense Force vs The Tittanno Beast” shows the influence of Japanese animation, giant monster movies, and comic books. Through storytelling, fantasy, and performance, Stilwell addresses social issues related to class inequalities, aggression, and anxiety.
Stilwell creates installations of painted cardboard that serve as environments for performance and video. Monsters and robots created out of cardboard and recycled materials, live experimental music, and shadow puppetry are used by Stilwell’s collaborators to weave stories within the miniature cities. Collaborators in “The Power of the Constructonauts” include musician Brian Olin, performance artist John Mejias, musician Yoko Stilwell, artist Ethan Crenson, and performer Chris Paisley. Children playing the parts of monsters and robots participate in the creation of the storyline and performance, interacting with the tiny cityscape and each other.
Mark Stilwell earned MFA from Pratt Institute. His solo exhibits include the “Super Defense Force at Front Room Gallery in Brooklyn and “Recess and Sugar Highs” at the Pratt Institute Gallery in Brooklyn. Stilwell has also exhibited extensively in New York at the Brooklyn Museum, The Front Room, New York Foundation for the Arts, Puck Gallery, and the Williams Art and Historical Center. In 2002, he was awarded a fellowship from the New York Foundation for the Arts.
Mark Stilwell lead a Workshop at Open Source Gallery in October 2013.
May 10th – May 31st, 2014
Opening Reception: May 10th, 7-9pm
Hubert Dobler presents “Roundabout,” a multimedia installation for Open Source Gallery.
Abstraction at the intersection of technology and art, Dobler’s work uses chaos and masculine tools, such as motorcycles and chainsaws, recording the marks these machines use when allowed to exist outside their traditional use. By taking apart and rearranging objects out of context, Dobler examines the emotional and visceral ties that the viewer may experience when machines operate with unrestrained abandon. Roaring, bucking and crashing, Dobler’s machines highlight the power and energy trapped inside everyday technology. He exposes the raw power and free spirit inherent in engines and motors.
“Roundabout” is an exploration of kinetic objects. Dobler pairs video projection with burned rubber paintings to create a depiction of raw and driverless machine life. In the video, two motorcycles tied together circle each other endlessly. Madly spinning, the throttles are wide open and the bikes release all of their stored energy. In front of the video, panels bearing the traces of the machines’ movement prevent the viewer from entering the gallery. The viewer’s only way to explore the wild mechanic life contained on screen is through binoculars and headphones. The doors have been removed from the gallery space, giving viewers 24/7 access to a mechanic show. Like a caged animal, the bikes are on display, performing their trick on repeat.
Hubert Dobler was born in Austria and earned his MFA in 1995 from the Academy of Fine Arts, Vienna, as well as a degree in civil engineering. Dobler has exhibited widely throughout the US, Italy, Netherlands, and Austria. He has recently exhibited at Sculpture Center in Queens, Front Room Gallery in Brooklyn, Palais Liechtenstein in Austria, and Fundacion Bilbao Arte in Spain.
April 23rd – May 5th, 2014
Opening Reception: April 23rd, 7-9pm
For “Your Stripes,” Schreiber’s floor drawing uses both the private, indoor space, as well as the public, outdoor space of the gallery as a reference upon which to develop work. Using a predetermined process devised specifically for Open Source, Schreiber paints hand-drawn lines, which extend out from the gallery walls and onto the sidewalk. The drawing operates as a transitional zone between different types of spaces, areas and their edges. His standardized practice of repeating lines allows images to emerge from the imperfections inherent in the materials.
Following the architectural conditions of the space, Schreiber’s drawing is divided into two fields of lines determined by the width of the doors, as well as distance between the sidewalk and the gallery. Lines are taped on the floor by hand and sprayed with white paint–the same material that is normally used to mark lines on the street. By creating lines with this paint, Schreiber allows the same random interplay of materials that creates his work to determine the lifespan of his lines; he uses a paint that defines areas, fades and disappears over time. The physical act of a repeating movement from line to line allows Schreiber to immerse himself in the drawing.
Schreiber’s experiments using specified activities within defined areas make use of the incalculable factors and individual imperfections in everyday materials. Through repetition, his lines create a work that is contingent upon the various factors of its environment. Clean and deliberate lines render visible, through the process of creation, the imperfect conditions and unforeseen factors in the act of painting. For the first time using the floor as a surface on which to draw his lines, Schreiber guides our view to the space on which we normally stand and occupy with our own bodies. By deliberately exposing each the variations within materials and space, “Your Stripes” provokes questions about factors in the creation of a work of art: What conditions affect the interplay of materials? How do imperfections manifest themselves in work? What are the conditions for uniqueness? What is the artist’s role in production?
Arne Schreiber (b. 1974) was born in Potsdam, Germany and currently lives and works in Berlin. He studied at the New York Studio School and the Universität der Künste, Berlin. Schreiber has exhibited extensively internationally. Recent exhibits include: “nowhere — herenow” at Galerie koal, “FORM — SIGNAGE” at Sophienholm, “Seeds of Color” at Upon Paper and “Crossing Abstraction” at Kunsthaus Erfurt.
March 8th – April 11th, 2014
Opening Reception: March 8th, 7pm-9pm
Katerina Marcelja presents “Fragment Series,” an exhibition of prints for Open Source Gallery.
In “Fragment Series,” Marcelja works with clusters of graphic sequences etched on multiple plates. These sequences are then disassembled and recombined challenging boundary conditions and narrative logic . Marcelja’s prints operate much like her sculptural work–creating extensions of the spatial dynamics and questioning the integrity of form. These etchings work within a malleable landscape where continuity is fragmented and reestablished on various scales. The wild lines of her etchings are truncated by the boundaries of the geometric plates of ghostly greys and deep blacks only to re-emerge in another sequence, creating a structural dialog between the individual prints. Individual narratives emerge from the incessant recombination of sequences.
Marcelja’s prints engage the limits of physical space delineated by the etching plates, the print paper and the gallery space itself. “Fragment Series” establishes a continuous discourse throughout the gallery, deconstructing the borders of each individual print to construct a new architecture within the space. Marcelja’s etchings are juxtaposed to operate as a structure in and of themselves, while each print maintains its own integrity. Overlapped and overlaid the forms emerge with sculptural sensibility She creates a new space out of her prints with a vaguely familiar, but elusive, history.
Katerina Marcelja (b. 1971) is a visual artist who specializes in sculpture and printmaking. Marcelja was born in Las Vegas, Nevada and grew up in Rome, Italy. She studied sculpture at Boston University and Performance Studies at NYU. Her performance work “Arteria” was shown at Mladinsko Theater in Ljubljana. Her recent exhibitions include “Flights of Love” at Gallery Molly Krom, “Wet Wings and Wooden Sail” at Giacobetti Paul Gallery, and “Insubstantial Evidence” at Douglass Street Music Collective Gallery.
February 8th -March 5th
Opening Reception: February 8th, 7-9pm
“You didn’t build that”
–Barack Obama, July 13, 2012
The curatorial initiative Fuse Works, which exhibits and promotes artists multiples, presents a new group of editions with the emphasis on artists “kits”. Requiring participation rather than simple observation, most of the works in this show must be cut, pasted, cultivated, filled in, filled out or otherwise completed by the collector. Some are useful objects in a very literal sense, while some propose use as philosophical objects – to be employed as a part of one’s cognitive tool kit. Of course kits have art historical precedence, from Duchamp’s Box in a Valise to Fluxus boxes and Flux-kits. But the impulse to create work that is used and/or completed by the viewer speaks to the aspiration of contemporary art to embody forms of communication beyond the passively visual. At the same time, the creation of artworks that come to life as they are manipulated and altered by those other-than-the-artist undermines the tendencies toward rarification and commodity entrenched in today’s art.
Some Assembly Required includes Tom Burtonwood, Celeste Fichter, Chuck Jones, Christina Kelly, Mariano Chavez, Piers Watson, Glen Einbinder, John Marriott, Peter Feigenbaum, Gary Kachadourian, Cadence Giersbach, Sara Bouchard and James Leonard.
Celeste Fichter, Ground, 2014
See more Images of Artworks.
A bronze casting workshop will be offered in conjunction with Some Assembly Required.
January 11th – February 5th, 2014
Opening reception, January 11th, 7pm-9pm
Anja Matthes presents “Out-Sight-In In-Sight-Out,” a multi-media collaborative project for Open Source Gallery.
“Out-Sight-In In-Sight-Out” examines gender, identity and sexuality through a collaboration between documentary photographer/filmmaker Anja Matthes and June, a transgender homeless teenager. For this project, Matthes visited community centers in New York City, meeting teenagers with whom she collaborated on photographs. It was in one of these centers where she met June.
June drifts in and out of homeless shelters, struggling just to get by in New York City. She engages in survival sex in exchange for money to pay for food and daily expenses, but looks toward the future when she can save enough money for the operations that will make her comfortable in her own skin. Matthes bonded with June and the two embarked on a project that would capture June’s quest for self-identity and independence.
Gender and identity are complicated and deeply personal issues. Matthes’ collaboration with June exposes the intricacies of a story that is seldom discussed, but plagues many homeless youth. Matthes’ ability to draw out an honest voice in interviews stems from her work as a documentary filmmaker and is used to great effect in the depiction of June’s life. Matthes tells a story of one individual’s journey to find herself that encourages empathy in the viewer.
In the shelter, June is unable to put anything on her walls, but at Open Source, there is a place for her to express herself. Chaotic assemblages of compelling photographs, video, and interviews are plastered onto the walls until the gallery resembles a combination of street art and a teenager’s personal space. Tumultuous compositions weave a story, following June’s progress. Her portraits simultaneously depict the joy that comes from being young and the difficulties of a teenager who has seen an incredible amount of personal hardship. “Out-Sight-In In-Sight-Out” examines society’s preconception of sexuality and identity through a personal lens, giving the viewer a glimpse into June’s daily life.
Anja Matthes is interested in the stories of individuals in marginalized groups. She is currently working on a documentary that examines the lives of widows in India and the struggle with societal status that women who have married so young face after their much older husbands have passed.
Special thanks to Rebecca Zakheim.
We are seeking artists, cooks, friends, and neighbors to join us for a month of cooking, eating, sharing, and celebrating. For as many nights of the month as we have volunteers, we will provide the cookware and utensils and the volunteer chef will be responsible for the “one-pot meal” of the night. We welcome all kinds of unique dishes from any ethnic tradition. Volunteers should cook a meal for approximately 15-20 people, which will be served between 7:00 and 9:00pm. Usually dishes are a “one-pot meal,” a soup or stew.
Those who are interested should sign up here to reserve a night or to receive more information.
The cook of the night is also responsible for providing an artistic element to incorporate into the evening. In the past, participants have displayed photographs on the walls, transformed the space into a winter-wonderland, read monologues, or played music. Those who attend the soup kitchen vary from neighbors to artists to others who are down on their luck or simply hungry. Not a traditional soup kitchen, this event focuses on conversation, community, and art.
Sometimes the conversation flows easily, and sometimes not, but the food is nearly always tasty (it’s New York, after all – we have standards!). So join us for good food, good art, and good conversation and bring all your friends and neighbors!
November 9th – December 1st, 2013
Open reception: Saturday, November 9th, 7-9pm
Until we remember the same: book, 730 pages, edition of 5
From May 2012 till May 2013 Katarina Poliacikova was working on a “collaborative project” with her sister. It consisted of a very simple everyday activity – taking a picture of the sun at the same minute, wherever they were, for a period of one year, when the sun completes its cycle. What led her to this is their family history – the fact that they had not grown up together and she found out about her sister’s existence only three years ago. Shortly after they met for the first time. Katarina Policikava realized that their relationship however close, was yet to be built. They don’t share a past; they have no common memories; there are no family photographs – a very strange feeling of equal being proximity and remoteness. The act of taking pictures as an everyday ritual was an attempt to get over something that cannot be retrieved from the past; a means of building their archive of “shared” moments, like catching grains of sand, being so close and so distant at the same time.
“Until We Remember The Same” eventually turned into a book. It has a form of a double book – two parts, Katarina’s and her sister’s, joined together by their backs. One’s not able to see the pictures from the same day simultaneously and as the viewer flips through the pages, they go from past to present – thus, those two parts are getting a bit closer with each day, yet they fail to meet in the middle.
A couple of pages remain blank – reminding them of the days when due to various circumstances, they forgot or were unable to take a picture.
The exhibition is curated by Ondrej Stupal.
Katarina Poliacikova has shown her work in Berlin, Prague, Vienna and Ljublana, among others, including art fairs VOLTA Basel and Armory show in New York. In 2011, she was shortlisted for the Oskar Cepan Award (a part of The YVAA awards in Central Europe and the Balkans).
Katarina Poliacikova has received the Triangle Arts Association scholarship in New York in 2012.
In November/December 2013 she will take part in Residency Unlimited program.
October 12th – November 6th, 2013
Opening Reception: October 12th, 7pm
Friday, October 18th at 7.30 pm
Concert by Margaret Leng Tan, the “queen of the toy piano” (The New York Times)
Saturday, October 19th, 7pm
Performance w/ Yuki Kawahisa and Kate Lee
Open Source is pleased to announce “Our Children Today,” an exhibition by Miho Suzuki on view from October 12 – November 6, 2013. Please join us for a reception with the artist on Saturday, October 12, from 7 to 9pm.
Kids at play is spontaneous theater, each child playing the starring role. They are filled with a joy and wonder that adults can no longer comprehend. Child’s play lacks the strict rules, conventions, and social pressures of the “adult” world. For most, spontaneous play is only for children. As we “mature” and create inviolable personal spaces that are only punctured by our families and closest friends, we envy the absolute freedom and abandon of the very young.
The exhibition at Open Source expands Suzuki’s body of work of children at play. She sequestered adults to recreate the playful poses she has captured when photographing the children. In recreating the scenes with adults she has sought to investigate the nature of play itself.
Miho Suzuki’s work often employs the camera’s potential to generate physical and temporal space parallel to an event and, effectively, place recollection on top of an unfolding moment in the present. Suzuki is intrigued by the concept of memory: both what is remembered and what has been forgotten.
The title of the show is taken from the book “Our Children Today,” published in 1952 by S. W. Gruenberg, which has caught Miho Suzuki’s attention. The stronger influence so has been the ongoing practice of photographing the children of her friends over the last decade. Documenting kids at play brought back memories of her own childhood in Japan. “As a child I took pictures secretly with my sister when our parents were away. We invented roles to play act for the camera. After shooting we would return the camera and keep our game a secret. This secret, of course, was revealed when our mother came back with the developed films and prints.”
A Conversation with Consequence | Images | Press Release September 13 – October 4, 2014 Opening Reception: September 13, 7-9pm “Ruddy Trees and Buried Hatchets,” 2014, Oil on canvas, 76” x 76” Emanuele Cacciatore presents “A Conversation with Consequence,” an exhibition of paintings for Open Source Gallery. Without relying solely on conventional aesthetics or contemporary […]
Soap Box Workshops and Derby 2014
Mark Stilwell: The Super Defense Force vs The Tittanno Beast (The Power of the Constructonauts)
Hubert Dobler: Roundabout
Arne Schreiber: Your Stripes
Katerina Marcelja: Fragment Series
Fuse-Works: Some Assembly Required
Anja Matthes: Out-Sight-In In-Sight-Out
Soup Kitchen 2013
Katarina Poliacikova: Until We Remember The Same
Miho Suzuki: Our Children Today
We Know Not Exactly Where or How
Soap Box Derby 2013
Keith Miller: Trees
Andrea Ray: Utopians Dance
Margrethe Aanestad: Herein
David D’Ostilio: The Chopping Block
Stefanie Koseff: To The Deep
Michael Poetschko: Zona
Soup Kitchen 2012
Kathleen Vance: From the Woods
Nick Kline: Gilgo Beach
Soap Box Camp and Derby 2012
Patrick Cadenhead: Spring and Renewal
Felipe Mujica: One day this will NOT be yours
Between Mountain – part 2
Karl Spörk, Another Meeting
Leigh Davis: The Burrow (H.H.)
Evan Robarts and James Moore: the cave
Sara Bouchard: The News: Monday-Friday, Parts 1 & 2
Open Source 2011
Open Source Soup Kitchen
Jason Reppert: Parlor Tricks
Felipe Mujica: One Day This Will All Be Yours
Green Idea Pool
James Leonard – 927 Days at Sea
Soap Box Derby 2011