July 9-30, 2016
Opening Reception: July 9, 7-9pm
SiTE:LAB presents Nothing is Destroyed, a site-specific project for Open Source Gallery.
Nothing is Destroyed is part of a larger conversation that began in Grand Rapids, Michigan. This exhibit contains objects extracted from and related to previous projects surrounding the church that trace the trajectory of interventions at and with the desanctified Rumsey Street Church. Nothing is Destroyed includes architectural artifacts and work by Paul Amenta, Lora Robertson and Nick Kline. The title of the exhibition, taken from Lorenzo Fusi’s essay on the work of Gordon Matta-Clark nothing is created, nothing is destroyed, everything is transformed, references Matta-Clark’s idea of “anarchitecture,” which described his interest in voids, gaps and leftover spaces related to architecture. Nothing is Destroyed focuses on these concepts, creating, like Matta-Clark, an expanded vision of space and its representation over time. Each recontextualization of the Rumsey Street Church adds a new history, creating new collaborations and connections which contribute to the project through both additions and subtractions.
Nothing is Destroyed is a kind of love letter to a space and its reincarnations. The Rumsey Street Church originally functioned as a Catholic church, but was abandoned by its congregation when they outgrew the structure. In July 2015, pieces of the church were brought to Upstate New York by Paul Amenta, who reconstructed the pipe organ into a motorized venting system at CR10. In August 2015, Nick Kline, Lynn Cazabon and Monika Wuhrer transformed the church where it stood in Grand Rapids, Michigan. During ArtPrize, the church received stripes and hosted performances by local artists, musicians, poets, writers and residents. In June 2016, the steeple of the church traveled to New York to be presented at 92Y by the Satellite Collective and SiTE:LAB. In the last stop on the tour, the artifacts are presented during Nothing is Destroyed before returning to the Grand Rapids to be reconstructed for ArtPrize 2016. The facade of the building will be rehabilitated to its original appearance, landscaped with trees and welcomed back with a film by Lora Robertson of the Satellite Collective.
SiTE:LAB is a nomadic all-volunteer arts organization that has organized dozens of temporary site-specific art projects, usually in underutilized downtown buildings in Grand Rapids, Michigan. Previous projects have used locations as diverse as an abandoned natural history museum, a nature preserve, vacant commercial buildings, and most recently, a once-grand downtown hotel. The Rumsey Street Project was created in collaboration with Habitat for Humanity of Kent County in 2015. The property consists of nearly three acres of unoccupied structures, including a body shop, vacant lots, residencies and the former Catholic church whose steeple is included in Nothing is Destroyed. The Rumsey Street Project is functioning as an art center until Habitat begins its redevelopment of the property in 2017. In this space, SiTE:LAB focuses on presenting large-scale, site-specific work by both local and international artists.
June 11-July 1, 2016
Opening reception: June 11, 7-9pm
Mural unveiling: June 10, 12pm (MS136, Brooklyn)
guerilla-art.mx presents Transgression, a collborative project with Open Source Gallery, NURTUREart and MS136.
What do we talk about when we talk about immigration? Or displacement? Migration? Refugees? Right now all over the world, people are fleeing their homes from violence or poverty, and too often both. Outrage at immigrants from Mexico is seen across the U.S. In 2015, over 3500 migrants and refugees lost their lives crossing the Mediterranean sea to get to Europe–and many survivors were turned away at the borders. These crises are not limited to two instances; they are global. Through Transgression, conversation about displacement, injustice and inequity is brought to the fore, encouraging a narrative created not by the news outlets and pundits, but by individuals.
Inspired by the economic and political situations in marginalized communities across the globe, art collective guerilla-art.mx, organized by Yescka and Jonathan Rutsch, gives voice to those who are often overlooked, showcasing work resulting from–and with the potential to spark–social movements. Yescka’s work focuses on the power of art as a weapon of change. And through political actions, such as Yescka and Rutsch’s current work with Syrian refugees in Europe, the group emphasizes the importance of social engagement in art. guerilla-art.mx aims to raise awareness and emphasize the importance of critical thinking in examinations of society and politics. Using street art and more historic forms of craft, such as woodcuts, Yescka presents work at Open Source that aims to combine the traditional with the contemporary, generating art that gives voice to marginalized communities and promotes critical thinking and understanding about contemporary issues and global struggles. For example, in La última cena mexicana, Yescka repurposes the last supper to depict an abuse of power by the elite. Benito Juárez, a drug boss, sits in Jesus’s place, while others gather around him begging for recognition. Their thirst for power makes them devour their values, such as freedom and justice.
In conjunction with the exhibit at Open Source, artists Yescka, Kate Deciccio and Max Albee, as well as non-profit organization NURTUREart, are collaborating with Open Source and students from MS 136 in Sunset Park to produce a mural at the school titled The Confidence to Persevere. This project presents a combination of the experience of the students and an exploration of their heritage with the guiding hand of artists, who can help them learn how to follow through from idea to mural and effectively use materials to create powerful imagery.
guerilla-art.mx is a German-Mexican street art collective consisting of street artists and filmmakers. The collective was founded by Mexico-based artist Yescka in 2011. Born from the wish to spread intercultural art the collective has organized projects, trips, exhibitions, and has contributed to numerous street art festivals in Mexico, Germany, USA, Switzerland, Sweden, and Spain.
In Her Absence I Created Her Image | Press Release | Installation View | In the New York Times | On WideWalls | On Broadly. | In Globalist | In Internazionale | In de Volkskrant | Artist Website | Panel Discussion | On Livestream
May 7-28, 2016
Opening Reception: May 7, 7-9pm
Panel Discussion: May 12, 7-9pm
Rawiya presents In Her Absence I Created Her Image, an exhibit of documentary photography at Open Source Gallery.
In Her Absence I Created Her Image will explore the lives of communities and individuals in the Middle East through documentary photography, focusing on social, political, and human rights issues across Arab countries. At a time when Islamophobia in the U.S. runs rampant and many view the Middle East with suspicion, efforts to create understanding are of the utmost importance. This exhibit, the title of which is inspired by a poem by Mahmoud Darwish, includes work by photographers Laura Boushnak, Tanya Habjouqa, Myriam Abdelaziz, and Tamara Abdul Hadi, members of the Rawiya photography collective. Rawiya aims to dispel stereotypes about this often misunderstood and underrepresented region by shining a light on the everyday hardships and shared experiences of its inhabitants, thereby encouraging a more compassionate and empathetic worldview. Within In Her Absence I Created Her Image, individual projects and varied themes contribute to an overarching theme of humanity, dignity, and empowerment.
In I Read I Write, Boushnak delves into issues surrounding access to education, exploring the role of literacy in improving the lives of Arab women. Her photographs span across Tunisia, Yemen, Jordan, Egypt, and Kuwait, capturing arresting portraits young women for whom education is the first step in improving their lives. In Occupied Pleasures, Habjouqa explores the everyday existence of Palestinians who, with the threat of violence often overhead, seek out simple joys. Pain and pleasure are often opposite signs of the same coin and Habjouqa explores the paradoxes and humor resulting from everyday existence within a 47-year occupation. Abdelaziz strives to expose harsh child labor conditions as a result of the Egyptian economic crisis in Menya’s Kids. Her young subjects emerge in a white haze of dust from the limestone quarries that they must cut with dangerous machinery, often prone to premature death from electrocution or injury. Finally, Abdul Hadi’s Picture an Arab Man seeks to fight hypermasculine stereotypes surrounding the Arab male. Abdul Hadi provides the viewer with a portrayal of sensual beauty and vulnerability, defying the violent narrative that afflicts these men. The artists of Rawiya come together to show the world what it cannot always see: people not as caricatured victims, but intensely human, with an entire spectrum of vulnerabilities and intricacies they hold wholly their own.
Rawiya, meaning “she who tells a story,” is the first all-female photography collective from the Middle East. Members of the group include New York- and Cairo-based photographer Myriam Abdelaziz, Beirut-based photographer Tamara Abdul Hadi, Sarajevo-based photographer Laura Boushnak, and East Jerusalem-based photographer Tanya Habjouqa. As a group, Rawiya has exhibited at places such as the Empty Quarter Gallery (Lebanon), Contemporary Art Platform (Kuwait), Ernest G. Welch Gallery (USA), Bildmuseet Museum (Sweden), Modem Museum (Hungary), New Art Exchange (UK) and the Louisiana Museum (Denmark).
This exhibit is supported by the National Endowment for the Arts and the Puffin Foundation.
April 2-29, 2016
Opening reception: April 2, 7-9pm
Public Workshops: April 7, April 14, 1-5pm
Artist Talk: April 21, 7-9pm
Exhibiting Artists: Christopher Jean Baptiste, Phillip Clark, Derrick Brown, Derrick Coard, Jorge Hernandez, Ray Lopez, Lukau Lukelo, Francis Palazzolo, Anthony Perez, Quimetta Perle, Angela Rogers, Cynthia Timms, Alyson Vega, Laura Anne Walker
Healing Arts Initiative and Open Source Gallery present Sole Exchange, a participatory art installation curated by Francis Palazzolo.
From an art historical perspective, pedestals have served a variety of purposes, from removing art from the viewer’s space to signifying importance to simply designating what is considered art. In Sole Exchange, pedestals will be toppled and refashioned into seating, transforming an exclusive barrier into a utilitarian object that can be shared by all. Upon these pedestals, visitors to the gallery will be invited to exchange their footwear, with conversation aiming to encourage understanding and empathy between both friends and strangers. Not limiting audience participation to a shoe swap, gallery-goers can also doodle and sketch their own interventions on the platforms, generating collaborative artwork throughout the course of the exhibit. Through the use of these pedestals turned social sculptures, visitors, participants, and artists will share the opportunity for exchange on an inclusive platform–and will feel what it’s like to be in another’s shoes.
Sole Exchange explores the intersection between live performance and representational form, utilizing social practices that enhance intersubjectivity. Paintings and drawings by HAI studio members included in Sole Exchange aim to disrupt cultural polarization and destigmatize mental health issues. Participation in this exhibit not only makes the viewer an active participant, helping to increase understanding between individuals, but also increases the visibility of the HAI studio members. To negotiate unspoken and unrealized spaces between people, HAI studio members pictured kinship upon the Open Source walls, creating artwork for the exhibit that explores collaboration and community. Exhibited work validates the input of marginalized communities and encourages a position of strength and stability for the artists.
The HAI Art Studio & Gallery is part of Healing Arts Initiative, a Long Island City based non-profit organization that touches a quarter of a million lives each year. HAI is committed to making the arts accessible to all New Yorkers, especially individuals who are isolated and marginalized due to institutionalization, hospitalization, disability and illness, as well as at risk youth in low-income neighborhoods. HAI exists to remove barriers to art and culture for the audiences most in need of the healing role of arts. In 1994, Palazzolo co-founded the Art Studio & Gallery at HAI. The mission of the HAI Art Studio is to organize a safe artistic empowerment zone for marginalized persons who are diagnosed with severe mental illness. The Gallery at HAI has participated in the Outsider Art Fair in NYC and Paris. Works created at HAI can be found in the collections of the Museum of Everything in London and the American Folk Art Museum in NYC.
March 6-27, 2016
Opening Reception: Thursday, March 10, 7-9pm
Brunch Workshops: Every Sunday in March, 12-5pm
Videokaffe presents Para-sites & Proto-types, a participatory installation at Open Source Gallery.
Videokaffe is an art collective known for occupying spaces for intensive work periods and throughout March will harness their members’ skills and the surrounding’s materials to create artworks acutely engaged with their place at Open Source. Para-sites & Proto-types will transform the gallery into a ‘science-garage-arcade’ using the space as a combination exhibition venue, cafeteria, and workshop open to the public. Videokaffe will work on-site at the gallery, scouring and collecting from the local environment to create work by integrating found and recycled materials with ready-made components. They will exhibit their methods of working, encouraging conversation with the public–and inviting interested viewers to participate in various aspects of the project. Para-sites & Proto-types aims to build artwork uniquely formed from and with their environment by recycling objects and testing environmental possibilities. Instead of installing finished work within the gallery, Para-sites & Proto-types will integrate art into the urban architecture surrounding Open Source, celebrating how art nurtures the environment and how the environment nurtures art.
Videokaffe is an international artist group with a background in visual arts, sound and engineering. It’s members are professionals in various forms of art and craft: sculpture, video production, boat building, clocksmithing and art education. Members participating at Open Source Gallery include: Sebastian Ziegler, Olli Suorlahti, Erno Pystynen, Heini Aho, Mark Andreas, Andrew Demirjian, Jack Balance, Jenny Mild, Thomas Westphal and Paul Flanders. Through their exhibitions and residencies the group researches and engages with a variety of fields such as oscillation and frequency, mechanics and movement, sound, light and picture. Videokaffe has exhibited in spaces such as Gallery LUDA (Russia), Galleria Titanik (Finland), Wäinö Aaltonen Museum (Finland), Wassaic Summer Festival (USA), and Städtische Galerie Bremen (Germany). Following their residency at Open Source Gallery, Videokaffe will exhibit at One Arts Space in TriBeCa, showcasing their residency and project created at the Turku country prison in Finland, photographs of the production, and a collection of new works.
This exhibit is supported by the Kone Foundation and Frame Visual Arts Finland.
February 10-27, 2016
Opening Reception: February 13, 2015
Prosjektrom Normanns presents Transcendental Tactility, a multi-media exhibition, at Open Source Gallery.
Transcendental Tactility is a group exhibition curated by Norwegian artist-run space Prosjektrom Normanns that will explore abstract, poetic, and lyric expressions of existence and presence. Showcasing works by Norwegian contemporary artists Per Christian Brown, Benedicte Clementsen, Elin Melberg, Margrethe Aanestad, and Kristin Velle-George, Transcendental Tactility will utilize a variety of media, such as film, painting, textile, sculpture, and drawing. Working with a shared interest in materiality and techniques, artists included in this exhibit will explore personal and universal experience through abstraction. Underlining sensibilities, tactility, and fragility inherent in materials, work included in this exhibit excavates timeless and subjective forms. Transcendental Tactility invites the audience to explore the subjective history within objects, their own subjective perceptions, and larger themes of time and presence.
Recognizing the contradictions within the artists’ work, Transcendental Tactility will serve to highlight the overlapping themes within their practices. Aanestads´ minimalist work revolves around form, spatiality and materiality, which she explores in a contemplative and abstract language. Melberg examines points of intersection–where is the line between being in control and losing control? How much can the materials take before they burst or fray? Placing greater focus on the psychology of color and material, Brown dwells on that which is hidden and exploring micro- and macro-cosms. Clementsen is interested in the man-made, exploring survival strategies and transition rituals that address existential questions, while Velle-George is occupied by the space between human knowledge and imagination, focusing on the physical and metaphysical concepts. An overarching theme of materiality pervades the show, but ultimately the collective narrative created by the artists is ambiguous and the viewer’s perspective and subjectivity becomes key in extracting meaning.
Open Source collaborated with Prosjektrom Normanns and the individual artists over several years, through various exhibitions and projects. Established in 2011, Prosjektrom Normanns is a non-profit exhibition space located in Stavanger, Norway. The project space is run by its members, artists Margrethe Aanestad, Kristin Velle-George, Elin Melberg. Prosjektrom Normanns exhibits both national and international artists, primarily focusing on site-specific exhibitions and exchange with spaces and initiatives across the globe. The group is active in collaborations with art institutions such as Kunsthall Stavanger, Rogaland Kunstsenter and Rogaland Art College. The Prosjektrom Normanns exhibition program is supported by the City of Stavanger, Rogaland County and the Norwegian Arts Council.
January 9-30, 2016
Opening Reception: January 9, 7-9pm
/rive collective presents Anamorphosis, an installation for Open Source Gallery.
Anamorphosis is a spatial and relational exploration of what makes and defines a neighborhood, set in, and inspired by, the area surrounding the Open Source Gallery. The exhibit’s video and photo installations seek to collectively make visible the physical and social lines that demarcate and connect a community. Through site-specific and mobile media projects that encourage residents to reflect upon their neighborhood and share their stories, /rive seeks to highlight the relationships between public space, mobile technology and local or microhistories.
In Horizon Lines, Annie Berman and Samara Smith uncover the edges that mark the neighborhood’s undefined and immutable borders. By visually exploring lines of demarcation, Berman and Smith investigate the areas where neighborhood life meets neighborhood boundaries. In Convergence Lines, Samara Smith and A.E. Souzis outline the area’s social connections by mapping photographs sourced from the neighborhood’s residents. Visitors to the exhibit and residents will be invited to submit photographs via text throughout the month of January. When the images are collected and exhibited, they will create a more complete portrait of the surrounding communities, offering a glimpse into the many individual narratives that exist within the neighborhood.
/rive is a Brooklyn-based artist collective focused on site-specific, locative projects that meet at the intersection of psychogeography, locative media and documentary narrative. Most projects are set in, and explore, urban public spaces. Inspired by social practice, /rive embraces collaborative and participatory methodologies, blurring the boundaries between maker, subject and audience. Members Annie Berman, Samara Smith and A.E. Souzis have exhibited at the Museum of Modern Art, Queens Museum, Anthology Film Archives, New York Film Festival, Hammer Museum, Art in Odd Places and beyond.
December 1-31, 2015
Each year the Open Source Soup Kitchen brings together artists, cooks, friends, and neighbors 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 our volunteer chef of the evening will be responsible to a “one-pot meal” (usually a soup or stew) that can feed approximately 15-20 people. All meals are served between 7:00-9:00pm. We welcome all kinds of unique dishes from any ethnic tradition!
The cook of the night is also responsible for incorporating an artistic element into the evening–it can be a one-night exhibit, musical performance, short play, or decoration of the gallery!
Attendees of the Soup Kitchen are neighbors, artists, people who are down on their luck, or some who are simply hungry. Sometimes the conversation flows easily, sometimes not, but the food is nearly always tasty (it’s New York, after all–we have standards!)
Join us for good food, good art, and good conversation–and bring your friends, family, and neighbors!
If you would like to host an evening, sign up here: http://bit.do/soupkit15
This is a free event. If you would like to be a guest, stop by Open Source any night in December between 7:00pm and 9:00pm!
We will not be open on Thanksgiving and will reopen on Friday, November 27th.
November 7 – November 30, 2015
Opening Reception: November 7, 7-9 pm
Mira Gaberova presents Statue of Everything, a multimedia installation at Open Source Gallery.
A stage curtain is a peculiar form of a barrier. It is the barrier between our ordinary and mundane world and an anticipated event of the virtual world of theatre. At the same time it divides the space with a passive position of the viewer from the space of the stage where the artistic process takes place. The curtain conceals, divides and determines the space. In many instances we perceive it as a two-dimensional blind that obstructs vision, not different from a sleepy screen of a computer or closed eyes.
Contemporary artists, just like their performative activities, often oscillate on the borderline between the mundane world around them and an artificially determined field of creative process. One of many possible ways how to define this is to use a medium of video. Mira Gáberová uses video especially in this sense. In many of her works, like in the presented one, the video frame reflects the space of artist`s passive presence confronted with a given environment, rather than a theatre stage for an active performance.
Here an analogy between the theatre space and artist`s activities is fully expressed by the author. The particular videos capture the artists performing on the proscenium of various theatres. She stands exactly on the imaginary borderline where the stage curtain opens or closes or is lowered and raised. The artist is in a literal physical contact with the curtain in these situations. A minimalist straightforwardness of the performance itself is contrasted by pathos of theatre environment. Mira Gáberová might at first glance present her body as an object, but standing on the borderline of the stage and auditorium proves how important the value of own experience is to her.
The stage curtain is a three-dimensional actor as well as a spatial object. Simultaneously, it serves as a metaphor for a relationship between an artist and reality, where the intersection between the ordinary and the imagination becomes the matter of physicality.
Mira Gaberova (born 1979 in Lučenec, Slovakia ) lives and works in Prague, Czech Republic. She obtained her BFA from the Academy of Fine Arts and Design in Bratislava and her MFA from the University of Newcastle. She has had residencies at the Museum Quartier, Donumenta Regensburg, and the ISCP. Gaberova has exhibited at the Pradelna Bohnice (Czech Republic), Umelka Gallery (Slovakia), Approach Art Association (Hungary), and Oi Futuro (Brazil) among others.
Text by Viktor Čech. Čech is a curator, art historian, and professor at Charles University in Prague.
October 3 – November 1, 2015
Opening Reception: October 3, 7-9 pm
Savas Boyraz presents Back Drop, a video installation for Open Source Gallery.
In Back Drop, Kurdish artist Savas Boyraz explores the stories of individual Kurdish guerilla fighters using portraiture. Having seen people in his life join the fight, Boyraz views his work as a sort of “image-based activism” that he uses to explore the struggle of the Kurdish community in the Middle East, as well as his own roots. Focusing on individuals, Back Drop puts a face to a complex political struggle, exploring a culture that struggles for its rights. Faced with the realities of war and an uncertain future, what are the responsibilities of individuals to their communities, their heritage, and their beliefs?
Kurdistan–an area that is not a country, but an area spread across Turkey, Iraq, Iran and Syria–is inhabited by the Kurds, a group considered to be the largest ethnic community without its own country. For decades, resistance groups have fought for a homeland for the Kurdish people in a continuously tumultuous region. With no national boundaries, identities are formed through self determination–and political rights in autonomous Kurdish communities are only obtained through the resistance of the people.
In a triptych, created in collaboration with Swedish artist Martin Nordström, stories of two individuals are told: one who is preparing to leave to join the guerilla struggle against Daesh (ISIS) and one who has returned from the fight. Each individual is situated in front of a backdrop, a prop once used by guerrilla theatre troupes. Set against varied landscapes, the borders of the backdrop provide an oddly precise framing for the portraits. The three stories in triptych format recall religious artwork and encourage the viewer to reflect upon not only the stories being told, but their role in the personal struggles of others. The work not only captures war from the perspective of those fighting it, but explores internal struggles and Boyraz’s relationship with the subjects. The future, present, and past of the Kurdish guerilla struggle is presented, uniting the stories of individuals with one, common backdrop.
Savas Boyraz was born in Istanbul, Turkey. He obtained his BFA in photography from the Mimar Sinan Fine Arts University and his MFA from the Art in the Public Realm program in Konstfack, University College of Arts, Crafts and Design. Boyraz has received awards from the Hasselblad Foundation, the Swedish Arts Grants Committee, and the HSBC Photography Award. He has participated in exhibitions in the Duhok International Film Festival (Iraq), Amed Art Gallery (Turkey), Berlin Kurdish Film Festival (German), Teatro di Nascosto (Italy), Aperture Foundation (US), Les Rencontres d’Arles (France), and Michaelis Galleries (South Africa) among others.
2016 Derby | Workshop Information | Facebook Event | 2016 Derby Judges | In the New York Times | On Brooklyn Independent Television | 2015 Derby | 2014 Derby | 2013 Derby | 2012 Derby August 27, 2016 12:00pm-4:00pm Join us for the 9th Annual South Slope Derby! Experience the thrill of witnessing our participants […]
SiTE:LAB: Nothing Is Destroyed
Rawiya: In Her Absence I Created Her Image
HAI: Sole Exchange
Videokaffe: Para-sites & Proto-types
Prosjektrom Normanns: Transcendental Tactility
Soup Kitchen 2015
Mira Gaberova: Statue of Everything
Savas Boyraz: Back Drop
Cristian Bors & Marius Ritiu: Venus von Hamburg
Soap Box Derby 2015
Sara Morawetz: How the Stars Stand
Whitney Lynn: Rummage
Yun-Woo Choi: Endless, Seamless
Jasmine Murrell: Some Impossibility Without A Name
Tirtzah Bassel: I Want To Hold You Close
B. David Walsh: Extracted Bedroom Project
Lena Lapschina: Yes/No
Soup Kitchen 2014
Sofia Szamosi: Eat Me
Corina Reynolds: Northwestern Expansion
Emanuele Cacciatore: A Conversation with Consequence
Box Car 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