February 7, 2012

Salon: Adéla Hrušková and Katharina D. Martin

Adéla Hrušková will discuss her curatorial projects, cultural activities, and educational programs that focus on emerging contemporary art. As a result of her ISCP residency, she has organized an exhibition in her studio which she will also speak about during the Salon. The exhibition Capture a Moment shows works by contemporary artists Blanka Kirchner (CZ), Martin Holland (GBR), and Kakyoung Lee (KOR).

Katharina D. Martin will present the performative and virtual dimension in her art and current studio work at ISCP. She will show excerpts of her videos and will discuss the dichotomy between sculpture and video. Initially working in performance art, Martin developed an interdisciplinary approach and continues to keep a constant vibration between the natural-artificial, tactile-visual, and animal–human.

Participating Residents

Offsite Project
February 3–October 31, 2012

Rena Leinberger: When it opens like this, up is not over


ISCP and the New York City Department of Transportation’s (DOT) Urban Art Program are pleased to announce a new joint commission by artist Rena Leinberger. When it opens like this, up is not over, is a new temporary site-specific work installed on a 50-foot fence that conceals the Manhattan skyline at Queensboro Plaza and Vernon Boulevard, directly under the Queensboro Bridge. Corrugated fences, walls and other barricades are commonly used in urban environments to conceal functional aspects of the city. The fence utilized in Leinberger’s work obscures construction supplies along with the dramatic base of the Queensboro Bridge and a view of Manhattan.

Taking its location as a departure, When it opens like this, up is not over creates a liminal space, simultaneously real and fictive, a continuation of Leinberger’s ongoing investigations of artifice. Here Leinberger transposed images of the veiled environment behind the fence onto its face. Six photographs were shot in documentary fashion of the view beneath the bridge, which is normally gated and hidden from the public. These photographs were then re-photographed with cut emergency blankets and blue latex gloves captured in a falling state, suggesting precipitation, celebration, and elusiveness. Neither the images nor the scene can ever be viewed in entirety, partially obscured by the flurry.

NYC DOT Urban Art Program:
The New York City Department of Transportation launched the Urban Art Program in October 2008 to invigorate the City’s streetscapes with engaging temporary art installations. The Program partners with community organizations and artists to present murals, sculptures, projections, and performances on public property such as plazas, fences, barriers, footbridges, and sidewalks.

ISCP thanks the New York City Department of Transportation for their generous support.

Queensboro Bridge
Queensboro Plaza and Vernon Boulevard, Long Island City, Queens

Participating Residents

Rena Leinberger

January 24, 2012

Salon: Kakyoung Lee and Jean-Michel Ross

Kakyoung Lee will premier her new animated video installation Climbing Up, which will be shown at MASS MoCA for one year begining this February. She will discuss this work and will also show her two-channel video installation Walk in Circle. Lee combines hundreds of hand drawn images and prints to construct a moving image that reflects the sequence of activities in ordinary life and alludes to her search for her identity in the different geographic and cultural milieus through which she has passed in the travels between her two home countries, South Korea and the United States.

Jean-Michel Ross will present recent curatorial and editorial research associated with Galerie Thomas Henry Ross art contemporain and Free Pass Magazine (founded in Brooklyn during his ISCP residency). These two distinct platforms for experimentation and research (a for profit gallery and a not-for-profit magazine) were both initiated to question the issues and the empirical impossibilities raised by the democratic ideal. Questioning more than just value and access, Ross feels that these projects underline the fact that context should always be understood as discourse and that curating like editing should always be seen as collaborative work. This Salon will be the first part in a three-part event called All work and no play makes Thomas a dull boy for which he will present a solo exhibition of collage work by artiste Ève K. Tremblay in his studio under the subtitle: Sorry it was a misunderstanding.

Participating Residents