July 26, 2016, 6:30-8pm

Brooklyn Commons: Tehching Hsieh and Alicia Frankovich

On July 26th, Tehching Hsieh and Alicia Frankovich will discuss their work, time and the body in performance.

Brooklyn Commons, an ongoing discussion series at ISCP, presents intellectual and artistic pairings between the established Brooklyn-based artist community and ISCP residents. This series puts artists in conversation who have not shared a dialogue in the past and focuses on cultural practitioners living and working in Brooklyn, both long- and short-term.

Tehching Hsieh was born on December 31, 1950 in Nan-Chou, Taiwan. Hsieh dropped out of high school in 1967 and took up painting. After finishing his compulsory military service, Hsieh had his first solo show at the gallery of the American News Bureau in Taiwan. Shortly after this solo show, Hsieh stopped painting. He made a performance action, Jump Piece, in which he broke both of his ankles. He trained as a seaman, which he then used as a means to enter the United States. In July 1974, Hsieh finally arrived at a small port near Philadelphia. He was an illegal immigrant in the States for fourteen years until he was granted amnesty in 1988. Starting in the late 1970s, Hsieh made five One Year Performances and a “Thirteen Year Plan,” inside and outside his studio in New York City. Using long durations, Hsieh made his art and life simultaneous. The first four One Year Performances attracted significant attention in New York; the last two pieces, intentionally retreating from the art world, set a tone of sustained invisibility. Since 2000, released from the restriction of not showing his work during a thirteen-year period, Hsieh has exhibited around the world. He lives in Brooklyn, New York.

Alicia Frankovich was born in 1980 in Tauranga, New Zealand, and lives and works in Berlin. Frankovich holds an MFA from Monash University, Melbourne, and completed a BVA in sculpture at the Auckland University of Technology. She is interested in new ways to imagine bodies, their behaviors and environments, both human and non-human. She works with performance, temporal exhibition experiences, sculpture, video and photography. It is her ongoing interest to create languages that merge sensibilities, materials and experiences from various fields, working with non-professional participants, and analyses of living matter, with variable outcomes. Frankovich has held solo and two-person exhibitions including Complex Bodies, Gebert Stiftung für Kultur, Rapperswil, Switzerland, 2015; Today this technique is the other way around, Kunstverein Hildesheim, 2013; and Gestures, Splits and Annulations at Künstlerhaus Bethanien, Berlin, 2011. Her group exhibitions and performances include: Transcorporeal Metabolismsthe 12th Performance Project, LISTE Art Fair Basel; Les Limbes, La Galerie, Noisy-le-sec, Studium Generale; If I Cant Dance I Dont Want To Be A Part Of Your Revolution, Rietveld Academie, Amsterdam, all 2016.

Brooklyn Commons is organized by Kari Conte, ISCP Director of Programs and Exhibitions.

This program is supported, in part, by New York State Council on the Arts and New York City Department of Cultural Affairs in partnership with the City Council.

This program is supported, in part, by New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Participating Residents

July 19, 2016, 6:30–8:00pm

Julian Lucas and Joseph Buckley Discuss The Demon of Regret

Joseph Buckley and Julian Lucas, Associate Editor at Cabinet Magazine, will discuss Buckley’s solo exhibition The Demon of Regret and its references.

Julian Lucas is a writer and the Associate Editor of Cabinet Magazine. He received a B.A. in Comparative Literature from Harvard College. In 2013, he was the recipient of the Jacob Wendell Scholarship Prize and in 2015, received the Kwame Anthony Appiah Prize. Lucas was president of The Harvard Advocate in 2015, and his work has appeared in The New York Review of Books and Cabinet Magazine.

Joseph Buckley (born 1990, Ellesmere Port, England) studied at Leeds College of Art and Goldsmiths, University of London, graduating in 2010 and 2013 respectively. In 2013 he moved to the United States where he graduated from Yale School of Art in 2015. Recent solo presentations of work include Pervert’s Lament as part of Time Item: Sculpture Thesis 2015, Green Gallery, Yale School of Art; and One Sixth Of A Series Of Elegies: V,??, & XVII: Retcon! Retcon! Retcon!, &Model Gallery, Leeds, England. Recent group exhibitions include Wet Eyes, Meyohas, New York; Most Loathed, 3401 Lee Street, Los Angeles; and A Small Group Show of American and British Artists, Space Space Gallery, Tokyo.

This program is supported, in part, by New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

The Demon of Regret: New Works by Joseph Buckley is made possible through the generous support of the New York City Department of Cultural Affairs in partnership with the City Council, New York Community Trust Edward and Sally Van Lier Fund, the Milton & Sally Avery Arts Foundation, and the New York State Council on the Arts.


Participating Residents

June 29–September 27, 2016

Richard Ibghy & Marilou Lemmens: Measures of Inequity

Richard Ibghy & Marilou Lemmens’ exhibition Measures of Inequity will feature a series of sculptures that give material form to the abstract diagrams used to map the unequal distribution of wealth. Ibghy & Lemmens are interested in forms of thought–ways of reasoning, systems of classification and the measurement of socioeconomic status–and how these forms create, adopt and reproduce knowledge.

Inequality is one of today’s most controversial and widely discussed issues, especially during this election year in the United States. The starting point for these new works are economic diagrams and graphs mostly from the last thirty years that the artists have culled from academic journals. These sculptures vividly render the ways that neoliberal economic policies during this time have reinforced uneven access to employment, education, health services as well as other resources.

The exhibition includes more than twenty geometric sculptures built from everyday materials including string, wooden sticks and colored plastic; their handwritten titles reflect the data they are based on such as Income Inequality in the United States 1910-2010; Class, Cultural Capital and Social Reproduction and Disparities in Access to Care for Selected Groups. Melding historical information with future speculation, the exhibition breaks down complex data into intuitively readable objects, challenging the way that information is constructed.

Richard Ibghy & Marilou Lemmens’ work has been shown at the 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms, 2015; La Biennale de Montréal, L’avenir (looking forward), 2014; 27th Images Festival, Toronto, 2014; Manif d’art 7: Quebec City Biennial, 2014; La Filature, Scène Nationale, Mulhouse, France, 2013-14; Henie Onstad Kunstsenter, Norway, 2013; Centre for Contemporary Arts, Glasgow, 2012; and the 10th Sharjah Biennial, 2011. Their recent solo exhibitions were held at Leonard & Bina Ellen Gallery, Montreal, 2016; VOX, Montreal, 2014; Trinity Square Video, Toronto, 2014; La Bande Video, Quebec City, 2014; Forrest City Gallery, London, Ontario, 2013; Monte Vista Projects, Los Angeles, 2012; and G Gallery, Toronto, 2012.

This exhibition is curated by Kari Conte, Director of Programs and Exhibitions.

Link to Exhibition Text

Public Programs

September 27, 6:30—8pm: Closing reception and exhibition walkthrough with artists Richard Ibghy & Marilou Lemmens and curator Kari Conte.

This program is supported, in part, by The Andy Warhol Foundation for the Visual Arts, Greenwich Collection, Ltd., New York City Department of Cultural Affairs, in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
Opening Reception: Jun 28, 2016, 6–8pm
Open Hours: Wednesday–Friday, 12–6pm
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Participating Residents