June 6 – June 29, 2015
Opening Reception: June 6, 7-9 pm
Whitney Lynn presents Rummage, a series of performative installations at Open Source Gallery.
Garage sales have a long history, tracing back to the early 1800s, when shipyards would sell off unclaimed cargo–called “rommage”–at discounted rates. Eventually moving from the docks into private yards and community spaces, the modern garage sale exploded as both a tradition and phenomenon in the 1950s with the flood of consumer goods entering the market. Today rummage sales are a staple of summer and many shoppers are driven by “the find,” combing through others’ castoffs in an effort to discover a coveted treasure.
Throughout the month of June, each week of “Rummage” will feature a rotating artist’s interpretation of a garage sale. Lynn has invited an array of New York-based artists with conceptually-oriented practices to participate, including Wong Kit Yi, Kai Vierstra, SeoKyeong Lee Yoon, Christine Wong Yap, and Lauren Frances Adams. Welcoming each collaborator to freely interpret the premise, responses variously examine themes of sales, investment, value, marketplace, unwanted materials, and community engagement. Installations will range from collections of transformed toys to participatory artworks.
“Rummage” is an extension of Lynn’s previous performance-based projects, exploring aspects of vernacular cultures and casting others to investigate the messy intersections of art and life. She is interested in the places where boundaries, environments, and actions collide. Playing with performance and public space, “Rummage” will create a series of participatory experiences that highlight the history inherent within commonplace objects and often overlooked traditions.
Whitney Lynn implements a variety of media–including sculpture, performance, video, and drawing–to question ideas of boundaries and containment, history and restaging, context, and form. Lynn received her BFA in Sculpture + Extended Media from Virginia Commonwealth University and her MFA in New Genres from the San Francisco Art Institute. She is currently a member of the Stanford University faculty.
“Where is the clock to show us how the stars stand?”
– RAY BRADBURY
Our experience of time is not constant, rather, it flexes and yields to the specific nature of our passage through space. Bound to Earth, this concept seems imperceptible, for we know no time but our own. Yet as we chart our passage around the sun, revolving on our own familial axis, time operates differently elsewhere. Compelled by operations outside our experience, each planetary body moves in its own discrete cycles, heeding standards that are as foreign as they appear desultory. From Earth, such notions hold no weight unless we ourselves become tied to them – fastened by our own physical connection to this extraneous action.
In an effort to illuminate these invisible constraints and become conscious of the standards that govern them, Sara Morawetz intends to abandon Earth time and to instead live by time as experienced on Mars. A Martian day is 24h 39m 35.24s, approximately 2.7% longer than a standard day on Earth. Morawetz will live according to Mars time for a full (although approximated) cycle – that would see her ‘day’ gradually separate from Earth-bound standards, invert, and then slowly return to synchronicity, an action that should take approximately 37 days to complete. This performative action is being conducted in consultation with Dr. Michael Allison of the NASA Goddard Institute for Space Studies.
This work is part of an ongoing exploration of the processes that underpin scientific action. Morawetz is interested in the manner in which the constituent elements of the ’Scientific Method’ – namely observation, experimentation, method (as action) and standardization – are recounted within artistic practice and how these concepts can be further leveraged by artistic inquiry. Through her work, she aims to unravel the mechanics of scientific thinking by asking: what is method / observation / standardization? and, furthermore, how do these terms function outside scientific parameters in the fluid and mercurial sphere of artistic application?. Derived from the core principles of science, her work examines experimental investigation as a way of thinking and a mode of working, utilizing the philosophy of science as a means of critically interpreting systems, actions and processes. It is in this breakdown of artistic and scientific thinking that she aims to evaluate the volatile space in between, to examine the reciprocity within conceptual systems and to validate a communal passage that seeks to filter art through a scientific idiom.
Morawetz’s work is both research and process-driven, often employing durational, repetitious and participatory components – elements akin to a scientific experiment. These performative actions, that either become or create the work, are devised to test and expose the internal processes of methodological labour – the exhaustive, the obsessive, the poetic and the absurd – aspects that are all inherent to scientific practices.
Sara Morawetz is a Ph.D. Candidate at Sydney College of the Arts, University of Sydney and an Australian Postgraduate Award recipient. She has been previously awarded the Martin Bequest Traveling scholarship and was a visiting scholar at Parsons School of Fine Art, The New School, NY in 2014. Her work has been exhibited in galleries within Australia, the United Kingdom and the United States.
Saturday, August 29, 2015
Derby begins at noon
Sign up NOW for Soap Box 2015!!!
Join us for the 8th annual Open Source Soap Box Derby!
Experience the thrill of witnessing our participants from the summer Soap Box Workshop race their fun, funky, eco-friendly contraptions down 17th Street in Brooklyn.
Since 2008, our Soap Box Derby has been a staple of the neighborhood. Each year, the Soap Box Workshop encouraging children to think outside the box. Children plan their inventions using sketches and calculations, bringing them to life with found and recycled objects as well as building materials. Over the course of the workshop, participants turn piles of seemingly useless trash into functional machines while learning about construction and design and, more importantly, having fun. Leading up to the derby, kids test drive their racers, ensuring the safety and functionality of each invention. At the Soap Box Derby, participants get to race their soap box cars for real as friends, families, and neighbors cheer them on as they race down the street.
September 3 – September 28, 2015
Opening Reception: September 3, 7-9 pm
I am a man and I believe there is nothing human which is strange to me. – Terence, Heauton Timoroumenos, v. 77
Marius Ritiu and Cristian Bors, that’s you. Marius Ritiu and Cristian Bors, that’s me. Marius Ritiu and Cristian Bors, they are a fiction which became reality. Marius Ritiu and Cristian Bors, that’s the adventure of which all are dreaming, but which has become reality for them. To repeat their name is to guarantee their success and prolong their road towards glory, at least if you adhere to the sacrosanct principles of modern marketing. Marius Ritiu and Cristian Bors, Ritiu and Bors, Bors and Ritiu. They are like a miraculous medicine against the monotony of every day and the anxiety of uncertainty. Public space is their kingdom, as it is also to you. Since February 2010 and the realization of their first joint project, Ritiu and Bors invade their own space. If the titles of their public interventions hint at revolt (Behind the fence, Stressing State.), that of their exhibitions rings the bells of a well established fame and comfort (How to become famous in One Month, This One Goes Out to the Ones We Loved). However, is the paradox of the scenario of the story of their adventure not a trick of their home country. A quizzical eye blink to the restrained budgets of the authorities granting subsidies. The fortuitous encounter in the streets of Antwerp of a bald soprano and a man with an iron mask.
Cristian Bors & Marius Ritiu are a Belgium-based artist duo originally from Romania. Both artists received their BFA from the University of Art and Design, Romania. Ritiu also received his MFA from the same university. As a duo, they are interested in national identity, interventions, and appropriation, using their twin personality as a means to create ambiguity. They have exhibited internationally at the Galerie Marion de Canniere (Belgium), Slick Art Fair (Belgium), Trajector Art Fair (Belgium), Cutlog Art Fair (US, France), and the Reframe Festival (Netherlands). In 2011, Bors & Ritiu received the ARTE TV/Cutlog 1st prize for “No Borders Equals Tolerance.”
October 3 – November 1, 2015
Opening Reception: October 3, 7-9 pm
“Invisible Landscapes” is a set of journeys on the mountainous borderlands between Iran, Iraq, Turkey, and Syria. Beginning as a photographic project in a documentary tradition, Savas was attempting, in a symbolic way, to unite the Kurdish identity, which had been torn by the four borders. During the creation of the work, a tragic event happened. As an instinctive reaction to the event, Savas decided to cross the borders he was photographing illegally with his photographs, turning the action into a video work on its own.
“Invisible Landscapes” was selected for the New Nordic Photography exhibit by the Hasselblad Foundation in 2013 and was also given the Victory Fellowship Masters Award that same year.
Savas Boyraz was born in Istanbul. He received his BFA from Mimar Sinan University in Turkey and is currently pursuing his MFA at Konstfack, Stockholm, Sweden. Boyraz has exhibited photography internationally at Hasselblad Center (Sweden), Amed Art Gallery (Turkey), Aperture Foundation (US), La Biennale di Venezia (Italy), Les Rencontres d’Arles (France) and Michaelis Gallery (South Africa). He has received awards from the Swedish Arts Grants Committee and the Elysee Photography Museum. In 2013, Boyraz completed a residency at the International Studio & Curatorial Program.
November 7 – November 30, 2015
Opening Reception: November 7, 7-9 pm
Mira Gaberova received her MFA from the Academy of Fine Arts and Design in Bratislava. She has exhibited in solo shows at Pradelna Bohnice (Czech Republic), Kabinet Gallery (Czech Republic) and Umelka Gallery (Slovakia) and been included in group exhibits at Novohrad Museum (Slovakia), ISCP (US) and National House of Arts (Slovakia). Gaberova has had residencies at ISCP (US) and Museum Quartier (Austria).
Endless, Seamless | Installation View | Press Release | Livestream | On Brooklynhits.com May 2 – May 31, 2015 Opening Reception: May 2, 7-9 pm Yun-Woo Choi presents “Endless, Seamless,” an installation for Open Source Gallery. Given the ubiquity of printed matter in daily life, it is no wonder that people often become more concerned […]
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Soap Box Derby 2013
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Stefanie Koseff: To The Deep
Michael Poetschko: Zona
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Nick Kline: Gilgo Beach
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Patrick Cadenhead: Spring and Renewal
Felipe Mujica: One day this will NOT be yours
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