December 1-31, 2016
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!
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!
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)
Liinu Grönlund (born 1984) is a visual artist based in Helsinki, Finland who works with video and film. Her interest is in remoteness and extremes, collaborating with scientists, wandering in disappearing worlds. Grönlund received her BA from the Helsinki University of Art and Design and her MFA from the Finnish Academy of Fine Arts. Her work has been presented in exhibitions at Galleria Huuto (Finland), Finnish Museum of Photography, Yebisu International Festival for Art and Alternative Visions (Japan) and Centro de Arte Contemporaneo (Spain) among many others. Grönlund has participated in residencies at Triangle Arts and Residency Unlimited.
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.
Open Source Fundraiser | TICKETS! | Art for Auction | Guest Speakers | New Space Announcement | Facebook Event December 9, 2016 7:00pm Buy tickets here! Join us to celebrate another great year and an exciting programming schedule to come–2017 will be bigger and better than ever! Each year our annual fundraiser has a greater […]
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