In 2017, exhibits at Open Source will explore culture through historical approaches, tradition and social practice. Through both solo and curated group exhibitions, artists will involve our community in contemplation about the effects of political and social history on our contemporary circumstances. Through solo and curated group exhibitions featuring local, national and international artists, we will contemplate culture and traditional across generational and historical timescales.
Exhibitions will include:
Liinu Grönlund (multimedia and film)
Francesco Simeti (sculpture and installation)
Sana Obaid (film and performance)
Andrew Snyder (sculpture and performance)
Omar López-Chahoud (curator)
Kimberly Mayhorn (film and installation)
February 25-April 8, 2017
Opening reception: February 25, 7-9pm
“But at the risk of sounding anti-human–some of my best friends are human!–I will say that it is not, in the end, what’s most worth attending to. Right now, in the amazing moment that to us counts as the present, we are deciding, without quite meaning to, which evolutionary pathways will remain open and which will be forever closed. No other creature has managed this, and it will, unfortunately, be our most enduring legacy. The Sixth Extinction will continue to determine the course of life long after everything people have written and painted and built has been ground into dust and giant rats have–or have not–inherited the earth.” – Elizabeth Kolbert, The Sixth Extinction: An Unnatural History
Liinu Grönlund presents It could have been, a multimedia installation at Open Source Gallery.
It could have been is a video essay; an associative collection of ideas, diary notes and dreamy images combining environmental issues and politics of recent years. The rat, an animal that is controversial, hated, feared and scientifically-used, is in the spotlight. Grönlund became interested in rats after reading The Sixth Extinction: An Unnatural History, a book in which author Elizabeth Kolbert explores human influence on the climate and environment. Over the history of the planet, there have been five major mass extinctions where the biodiversity was suddenly decimated. We are currently in the midst of the sixth mass extinction: the largest since the event that killed the dinosaurs. Throughout history rats have proven to be an effective colonizer, flourishing in each new environment they find and destroying endemic species populations while propagating at rapid rates.
In 2016 corruption and imbalance of power across the globe are painfully obvious dilemmas, yet peace agreements, equality and climate change solutions still seem unreachable. Inspired by rats’ talent for survival and their similarities to humans, It could have been explores the dark fantasy of rats inheriting the earth from humans. Grönlund has spent time observing rats’ behavior, witnessing for herself the adaptability, empathy and intelligence that researchers have shown them to possess. She explores ideas about how to transfer knowledge to another species, reading from her favorite authors to the rats in an effort to make the information immortal. It could have been connects humanity to the natural world, intertwining our future and current events to other possibilities. Linking an alternate history–or prediction of the future–to a feeling of powerlessness, It could have been questions if there is still time and ways to create something alternative, something entirely new, to replace our violent man-made systems that destroy both biodiversity and humanity?
Liinu Grönlund (b. 1984) is a visual artist and filmmaker based in Helsinki. She received her MA in documentary film from the University of Art and Design (Helsinki) and an MFA from the Finnish Academy of Fine Arts. Grönlund’s work often takes the form of a poetic film that combine personal experiences, politics and history. She is interested in remoteness and extremes, working together with scientists and activists. Her work has been exhibited at places such as Galleria Huuto (Finland), Finnish Museum of Photography (Finland, curated by Boshko Boskovic) and Studio Voltaire (UK, curated by Jennifer Higgie and Rebecca Warren) among others. Her work has been shown at festivals such as the Savonlinna International Nature Film Festival (Finland), Tampere Film Festival (Finland), Wild-screen (Ireland) and the Yebizo International Festival for Art and Alternative Visions (Japan, curated by Junya Yamamine) among others. Grönlund’s film about scientists working in the vanishing forests of Madagascar will premier in May 2017. In Fall 2017, Grönlund will begin an artist residency with Triangle Arts.
This exhibition is kindly supported by the National Endowment for the Arts, AVEK Promotion Centre for Audiovisual Culture and Arts Promotion Centre Finland.
Born in Palermo in 1968, and graduated in Sculpture at the Academy of Fine Arts in Bologna, Francesco Simeti lives and works in Brooklyn, New York. Among the most internationally acclaimed Italian artists, Simeti is currently engaged in a number of public art projects in the United States, including the Brooklyn subway stop in New York, and has made site-specific installations in various museum spaces including MACRO of Rome, the Risd Museum, Providence, Art & Idea Gallery in Mexico City, Columbia University in New York. His work has been featured at the 9th Shanghai Biennial, just ended, the Gallery of Modern Art in Palermo in the solo exhibition An Artful Confusion, and among others, at MASS MoCA, Massachusetts, at the Gallery of Modern Art of Bologna, at Mu.dac, Musée de Design et d’Arts Appliqués Contemporains of Lausanne, at the Institute of Contemporary Art in Philadelphia and the Riso Museum of Palermo. Some of his wallpapers have been acquired by major international museum collections such as the Smithsonian Cooper Hewitt, National Museum of Design in New York, Victoria and Albert Museum in London, Fabric Workshop and Museum in Philadelphia.
His work is inspired by the ambiguity in printing that characterizes the relationship between form and content, by creating a kind of continuous and endlessly changeable landscape. His research emphasizes on the one hand that interest for the aesthetic factor that threatens to deny the actual content of the images, on the other hand the risk of flattening brought about by the excess of visual information. The first impact with his ornamental patterns brings about an aesthetic pleasure and a reassuring feeling; on looking closer, however, one cannot fail to notice unexpected details.
Sana Obaid was trained as a miniaturist at the National College of Arts (Pakistan) and received her MFA in Art and Design at Beaconhouse National University (Pakistan). She is interested in engaging, recording and presenting the banal nature of life through found objects and explorations of everyday subjects. She has exhibited throughout Pakistan as spaces such as Alhamra Gallery, Art Scene Gallery, IVSAA Gallery and Chawkandi Gallery. She has also exhibited outside Pakistan in spaces such as Herbert Gallery (UK), Glynn Vivan Gallery (UK) and Annant Gallery (India).
Andrew Snyder presents Mark of a Day, a performative installation at Open Source Gallery.
Traditionally the act of throwing is merely a means to an end; the potter’s wheel, a tool. How can the means be separate from the end? The means should determine the end. There is a truthfulness to work that does not hide the manner in which it is produced. When one commands a skill, there becomes an artistry shown in the process of performing that skill. The potter’s wheel is no different. There is a long history of demonstration in the crafts, whether it is weaving, smithing, or throwing. It is really a performance showing the mastery of the craftsman’s skill. Thus showing the audience the means that the end product is derived. This series is paying tribute to the tradition of demonstration by way of performance. Snyder is not making bowls on the potter’s wheel; he is simply throwing. It is the process of throwing that matters. Still, the documentation of the process is also very important. Customarily, the act of throwing is documented simply by firing the work. However, this piece shows the passage of time on the potter’s wheel, not by producing pots, but the mark that is left from throwing for a fixed length of time. Since his roots are in blue collar production pottery, he will spend the “normal” work day of 9 am to 5 pm at the potter’s wheel throwing nothing but small bowls. The bowls which are thrown are assembled in “boards” of 10. In production, a board is a measurement of a predetermined number of pots, and the number of pots is determined by how many will fit on a shelf; in this case, ten bowls equal one board.
This series is capturing that feeling of a day in production on canvas.
Andrew Snyder received a BS in ceramics and an MFA in sculpture from Towson University. He is currently an assistant professor at West Chester University in Pennsylvania. He has presented work in solo exhibitions at Knauer Gallery (PA), Saints and Sinners Gallery (MD) and Mulberry Art Gallery (PA). His work has been featured in group shows at The Art Trust (PA), Baltimore Clayworks (MD), Academy of Fine Arts Lynchburg (VA), Kevin Lehman Gallery (PA) and Thornhill Gallery (MO) among others.
In 2017, Omar López-Chahoud will curate an exhibit at Open Source that will utilize collaboration to generate international exchange.
Omar López-Chahoud has been the Artistic Director and Curator of Untitled since its founding in 2012. López-Chahoud has earned MFAs from Yale University School of Art and the Royal Academy of Art in London. As an independent curator, López-Chahoud has curated and co-curated numerous exhibitions in the United States and internationally. He curated the Nicaraguan Biennial in March 2014 and has participated in curatorial panel discussions at Artists’ Space, Art in General, MoMA PS1, and the Whitney Museum of American Art in New York City. He is currently a member of the Bronx Museum Acquisitions Committee.
Kimberly Mayhorn is a self-taught multi-disciplinary artist utilizing installation, sculpture, theatre, dance, sound and film/video. The Brooklyn-based artist is a Whitney Museum of American Art, Independent Study Fellow, and was selected by Essence magazine as one of “30 Women to Watch.”
Kimberly creates large-scale, site-responsive installations, assemblages, and sculptures that are process-driven and often influenced by a historical context, then stripped away from their initial motivation, pared down to a singular thought and built back up slowly to create a new language and narrative in her artwork.
Kimberly has shown in a variety of institutions such as The Bronx Museum of the Arts, Rush Arts in New York, Five Myles in Brooklyn, Aljira in Newark, The African American Museum in Philadelphia, The University Museum at Texas Southern University in Houston, and the African American Museum in Dallas. She has also collaborated with choreographers Dai Jian, Shalewa Mackall and the late Lowell Dennis Smith.
The Middle Passage | The Vanderbilt Republic | The People Movers | Press Release | Video | Tickets January 28-February 19, 2017 The Vanderbilt Republic and The People Movers present The Middle Passage, a performance art narrative in site-specific camera obscura at Open Source Gallery. January 21-22: Public preview (Reserve your seat) January 28: Elsa […]
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South Slope Derby 2016
Boa Mistura: Spread Love, It’s The Brooklyn Way
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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