I Want to Believe
Brandi Twilley, Carlos Vela-Prado, Constanza Alarcón Tennen, Edward Marshall Shenk, Esteban Cabeza de Baca, James Miller, Jeffrey Stuker, Jung Hee Mun, Kenny Rivero, Shahrzad Changalvaee
BombPop!Up Productions presents I WANT TO BELIEVE, a six-day Art & Music Residency at Coustof Waxman Annex in New York City. I WANT TO BELIEVE explores how conspiracy theories,
paranoid styles, and fringe aesthetics take part in molding alternative histories as well
as our current reality. Especially relevant in light of 2016's unending election season,
its result, and the continuing campaign of misdirection by the President-Elect, I WANT TO
BELIEVE is about creating a space for interpreting information, dialogue, and actively
making a better now, for a better future, together. Instead of processing alone in front of
our screens, we propose the communal recognition and addressing of a synthetic view of the
world so our bodies cannot be totally divorced from the technologies that shape us or the
utopian pursuit at the heart of it all. The 1stfloor storefront space will host a group
show of 2-D, 3-D, & video work that explores these intersections between faith, fear,
politics, & popular culture. The accompanying print project will be a pamphlet of artistmade
“conspiracies” available for purchase during the show.
December 9 2016 - December 15 2016
Legal Tender is a multimedia exhibition that examines the overlaps between the language of finance and the language of romance. Terms like mutual, interest, tender, bond, investment, equity, and transparency describe both financial processes and interpersonal relationships. The nine participants in this exhibition perform financial alchemy, converting the forms of standardization, currency, and protocol into different, unanticipated forms of value.
Curated by Susan Surface at The Alice Gallery.
Endia Beal, Matt Hilger, R. Lyon, Sarah Meyohas, Catherine Telford-Keogh, Corothy Hexa Howard, Art Handler
April 30 2016 - May 21 2016
The Camera's Blind Spot III: The Materiality of Photography
Dove Allouche, Paul Caffell, Elia Cantori, Attila Csörgő, Linda Fregni Nagler, Paolo Gioli, Franco Guerzoni, Raphael Hefti, Marie Lund, Ives Maes, Justin Matherly, Lisa Oppenheim, Johan Österholm, Anna Lena Radlmeier, Evariste Richer, Fabio Sandri, Simon Starling, Luca Trevisani, and Carlos Vela-Prado.
Curated by Simone Menegoi at Palazzo De’ Toschi, Bologna.
January 29 2016 - February 28 2016
LA CAMERA. On the Materiality of Photography is the third installment in a broader exhibition program, curated bySimone Menegoi and titled The Camera’s Blind Spot, which explores the relationship between sculpture and photography.The first two parts of the project (The Camera’s Blind Spot I and II) were respectively held at MAN – Museo d’Arte della Provincia di Nuoro in Sardinia (2013) and at Extra City Kunsthal in Antwerp (2015).
The show is among the exhibitions planned for the 4th ART CITY Bologna, an initiative sponsored by the City of Bolognaand by Bologna Fiere to round out the annual Arte Fiera with a program of high-profile exhibitions and cultural events, strengthening the ties between this major art fair and the city’s own cultural fabric. Exhibitions about the overlap between sculpture and photography often limit themselves to a more classic view of this relationship, with photography used to revisit and document pre-existing three-dimensional works. This is a formula that originated with photography itself, and took an extraordinarily creative turn when sculptors like Medardo Rosso and Costantin Brancusi, at the turn of the century, shouldered cameras and began photographing their own works in varying conditions of light and space. The Camera’s Blind Spot not only tries to trace the most recent developments in this trend, but to take other equally important possibilities into account; first and foremost, that the material aspect of the photographic image can be accentuated to the point that the latter becomes an object. This is a challenge to what has been the technology’s “blind spot” from the outset: the impossibility of rendering a three-dimensional object on a flat surface.
The third installment in the series, titled LA CAMERA: Sulla materialità della fotografia shifts the center of this investigation towards the photographic medium. An exhibition setting created within the main hall of Palazzo De’ Toschi (the title of the show being a play on words between the English meaning of “camera” and its Italian one, “room”) will house works made with the rarest and most unusual photosensitive techniques currently used by visual artists and photographers: from Evariste Richer’s daguerreotypes to Paul Caffell’s platinum prints, and from Attila Csörgő’s spherical photographic scans to Justin Matherly’s “inkjet monoprints”. A collection of photographic eccentricities, archaisms, and hapax legomena, its aim is to subvert viewers’ usual assumptions about the medium and make them experience anew, for at least a moment, their nineteenth-century ancestors’ awe at an invention that revolutionized visual culture and our relationship to reality itself. This is not a challenge to the digital realm per se (digital techniques like scanning or 3D printing are even at the core of some works in the show) but to its absolute hegemony; to the notion that since its advent, all other photographic techniques have become obsolete and can only be abandoned.
Lastly, sculpture. The other key theme of The Camera’s Blind Spot turns up in the third part of the project as well. At times, in the subjects: the Roman statues photographed by Paolo Gioli through a process of his own invention, involving phosphorescent film; or the stalagmites and stalactites, nature’s own sculptures, which Dove Allouche captures on glass with the nineteenth-century technique of ambrotype. More often, sculpture re-emerges through the physical presence of works that are based on photographic techniques, yet which one hesitates to call “photographs”: for instance, JohanÖsterholm’s Structure for Moon Plates and Moon Shards (2015), an assemblage built from old greenhouse glass, coated in photosensitive emulsion and then exposed to moonlight. In an era when the photographic image tends to be dematerialized, the individual “photographic objects” in the exhibition present themselves as true sculptures.
Exhibition partner Banca di Bologna is a bank with close local ties both to the city of Bologna and to the area around it. Its many initiatives have included refurbishing Piazza Galvani, restoring the Oratorio dei Fiorentini and Bologna’s city gates, recovering and upgrading Piazza Minghetti, and renovating Palazzo de’ Toschi. It has also been involved in the restoration of the Basilica of San Petronio and its Chapel of the Archangel Michael, with the famous fresco by Calvaert. This year, the bank organized a series of lectures on “art and food” for the occasion of Expo 2015, with eminent scholars and critics helping to explore how artists have approached this theme over the centuries. In addition, it recently presented a photography exhibition in partnership with Collezioni Alinari: L'industria bolognese, un DNA riconosciuto, with many images on view for the first time. These activities will continue in 2016, starting with the exhibition LA CAMERA: Sulla materialità della fotografia, organized at Palazzo de' Toschi in conjunction with Arte Fiera 2016.
Lecture at FABRIKculture (France) February 4th 2016
Lecture of work and presentation of interdisciplinary methods of contemporary art making.
Awarded Atelier Mondial Residency, Basel Switzerland
Link to Atelier Mondial, Carlos Vela-Prado