October 11 – November 1, 2014
Opening Reception: October 11, 7-9pm
Corina Reynolds presents “Northwestern Expansion,” an installation for Open Source Gallery.
When explorers in the 1400′s patiently waited through harsh winters with their ships sometimes frozen in place during their search for the Northwest Passage, they were making progress while waiting. The occupants of a waiting room are not explorers, per say, but they are making progress towards a goal while in a state of pause—every second they get closer to their destination.
“Northwestern Expansion” is an immersive installation examining the act of waiting in pursuit of one’s goals. Reynolds recreates a waiting room and executive office from the Northwestern section of the Jacob K. Javits Federal Building in Manhattan, which is home to the Social Security Administration, New York City Immigration, and many other government offices. In her installation, Open Source’s main gallery becomes a container that holds a “core sample” of the Javits building’s 31st floor. Reynolds uses the search for the Northwest Passage, a northern trade route from the Atlantic to the Pacific Ocean, as well as traditional waiting rooms as a metaphor for the waiting we do daily. These acts of waiting in office buildings, like the icy search for the Northwest Passage, are motivated by money, prestige, and exchange. Through carefully controlled light, surface, space, and typical waiting room furnishings such as vinyl flooring, industrial carpeting, service counters, and office chairs, Reynolds puts the viewer in intermission, evoking the experience of waiting and allowing individuals to examine their own ambitions.
Corina Reynolds is an artist who works with installation, video, and performance. Her immersive works invite the viewer to experience the hierarchies present every day in society. She earned her BFA from San Diego State University her MFA from the Cranbrook Academy of Art and in 2012 co-founded Small Editions, an artist book studio and press in Brooklyn. In 2011, Reynolds was an artist-in-residence at the Wassaic Project in New York. From 2011-2013, she taught courses in bookbinding and artist book publication at the Interlochen Center for the Arts. Reynolds has exhibited across the U.S. in New York, Michigan, Iowa, and California.
September 13 – October 4, 2014
Opening Reception: September 13, 7-9pm
Closing Party: Friday, October 3, 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 ideology, Cacciatore addresses how we perceive and define gestural painting. The gestural passages in his artwork, although realized through accidental, intentional, and mechanical manipulation of the material, ultimately reflect a genuine and thorough investigation of painterly content. Cacciatore uses brushes and stencils in conjunction with an array of industrial tools and various painting techniques, creating both a concrete and ephemeral reorganization of form and space.
“A Conversation with Consequence” showcases a series of oil and acrylic paintings that represent a dialogue with man-made disasters. From the food and water we consume to the raw materials we use and the inspiration we draw from our surroundings, our success and survival as a species rely heavily on our relationship with the earth. Unfortunately, our technological advancements often come at the expense of our planet. Whether caused by greed, negligence, or human error, the results of man-made disasters can be devastating, often claiming numerous lives and irreparably damaging the environment. Using maps and imagery of disaster sites from around the world, Cacciatore recontextualizes these destructive events, creating a new perspective and reclaiming them as abstract works of art.
Emanuele Cacciatore earned his BFA from the State University of New York at Buffalo and his MFA in painting from the University of California. He has shown in numerous group and solo exhibits in New York, New Jersey, Florida, and California, including the Pamela Auchincloss Gallery, Art Now: Art Basel in Miami, The Montclair Art Museum, the Albright-Knox Art Gallery, and Cooper Union in New York City. Cacciatore’s work has also been reviewed by publications such as ARTnews and the Santa Barbara Independent.
November 8 – December 1, 2014
Opening Reception: November 8, 7-9pm
Open Source Gallery presents “Eat Me,” new multimedia work by Sofia Szamosi.
The Open Source Gallery is proud to present “Eat me,” the first solo show of New York based artist, Sofia Szamosi. Curated by Keith Miller, Sofia Szamosi’s “Eat Me” explores the relationship between the artist’s sense of self, food and contemporary notions of body image through a series of video self-portraits. Through exquisitely shot, confrontational images, Szamosi work addresses the complexities of body image and food, illustrated through sensual, grotesque, and occasionally disturbing imagery. Reminiscent of advertisements of overtly sexualized women selling the newest commodities, guilty pleasures, and unhealthy sweets, the artist looks directly into the camera, confronting the viewer. With her own body as a canvas, Szamosi explores consumption and desire, making herself both target and victimizer of the almost inescapable excess in our consumer-based society.
“Eat Me” presents a tenuous balance of an enticing eroticism and a troubling repulsion. The viewer ends up involved in Szamosi’s contemplation of food and complicit in her predicaments, which range from enjoyment to humiliation. She spits multi-colored candies like a fountain or seductively licks a lollypop; she drowns in syrup and coughs up sprinkles. In each case, the viewer must decide where to draw the line:where does indulgence end and obsession begin? Szamosi’s work lays bare the conflicted relationship we have with pleasure, the body, and what we mean by free will. Alternately sexy and sickening, “Eat Me” walks the delicate line between solipsistic desire and self-destruction.
Sofia Szamosi lives and works in New York, New York. Sofia’s music videos have been released by labels Sweat It Out and Dim Mak, and her photobooth photography has been featured in Russh Magazine and the Gallatin Review. Her artwork has been represented in the Gallatin Arts Festival, Superchief Gallery, and at the International Photobooth Convention in Chicago.
Keith Miller is a filmmaker, painter, and curator. Miller is currently a professor at New York University’s Gallatin School of Individualized Study. Since 2009, he has been the curator of the Gallatin Galleries, encouraging work that engages the personal with the political. Miller’s exhibition of paintings, “Trees,” was shown at Open Source in 2013. He recently premiered his second feature film, Five Star, premiered at the Tribeca Film Festival and the Venice Film Festival’s Giornate degli Auotre. His first feature length film, Welcome to Pine Hill, which The NY Times’ AO Scott called “resonant and powerful,” premiered in 2012 at the Slamdance Film Festival, where it won the Grand Jury Prize.
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.
The 7th Annual Open Source Soup Kitchen will commence this December 1st at Open Source Gallery. Sign up 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 […]
Corina Reynolds: Northwestern Expansion
Emanuele Cacciatore: A Conversation with Consequence
Sofia Szamosi: Eat Me
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