Offsite Project
December 17, 2014–February 15, 2015

Keren Benbenisty: Saxa loquuntur stones speak

El Museo de Los Sures and the International Studio & Curatorial Program (ISCP) are pleased to present the residency and exhibition by artist and ISCP alumna Keren Benbenisty.

For her residency-end exhibition, Keren Benbenisty presents Saxa loquuntur stones speak. She transforms El Museo de Los Sures into a temporally ambiguous location, a scene of excavation where objects from the past are revealed. In his Freudian analysis of the concept of the archive, Jacques Derrida established the authored nature of the archive as a recording method though which the past is ordered and the future controlled. This is contrasted with the immediacy of archeology, where the context and history of the objects arises directly from their immediate being, without the categorization of the archivist. By conceptualizing the gallery space as an archeology site, the exhibition questions contemporary interpretations of language and codes; the spoken vs. written, the word vs. the image. In Benbenisty’s work, speech is not audibly spoken but inscribed across layers of history.

Foundational to the work is a small video projection into a Moleskine notebook that loops one side of the Fontaine du Palmier in Place du Châtelet in Paris that Benbenisty photographed before moving to New York in 2012. The Napoleonic-era fountain featuring a head of a Sphinx facing the four cardinal directions is, for Benbenisty, a fountain of both water and language. Benbenisty’s sphinxes, speaking in gurgling water, pose riddles in a silent language that does not have written form. The drawings on view in the exhibition are tracings of the water spilling from the sphinxes’ mouths. The drawings are then subjected to a photosensitive process used for architectural blueprints. The image is mirrored and colors inverted. White areas of the paper turn a signature blue where black ink appears as white. Benbenisty photographed each drawing into slides, and then photographed each slide, translating, in a sense, the water into ink. Reviving this now archaic technique–now replaced with digital design software–the works appear as something discovered from another era. The images function as a map, an image that is also a set of instructions, clues, an image that is also a place.

As the sole object on the gallery walls, Benbenisty has installed a single piece from her series Seven (2014). Composed of seven pages from a used book, Crafts of Israel, Benbenisty has used the dated imagery as a background, affixing contemporary everyday objects over visually like images pictured in the book. Coat hooks decorate ancient stoneware, a mass-produced plate, broken in shards is overlaid on an image of a ceramic worker. Benbenisty presents the industrial objects as shards, re-contextualizing them as unknown fragments of a civilization uncovered.

Benbenisty parallels the iconography of the sphinx by posing contemporary linguistic riddles is the user-dialogue system, CAPTCHA. Like the CAPTCHA interface, reCAPTCHA asks users to enter words seen in distorted text images onscreen, a type of challenge-response test used in computing to determine whether or not the user is human. By correctly translating the images into typed words, the user solves the “riddle” and gains access to the desired webpage. Benbenisty’s hand-drawn reCAPTCHA pairings and blueprints reverse the computer’s translation; words morph into images. How these images can reflect the sentiments and intentions behind them, how images can be words and words images are the ideas with which Benbenisty plays. For her, language is set of riddles. Our ability to understand context and use critical reasoning allows us to continue to succeed where a computer, for example cannot. It is this play of the analogue and the digital, the ancient and the technological we continue to negotiate. Contemporary designs continue to draw upon ancient forms; we expect the projector, the camera, and the computer to illuminate poetics they could not create.  By recognizing an image as an aesthetic translation of a concept, we set ourselves apart in our ability to and successfully solve the riddle of the sphinx. – Mary L. Coyne

Keren Benbenisty (born in 1977, Herzeliya, Israel) moved to Paris in 1998 and graduated from the Ecole Nationale Supérieur des Beaux-Arts de Paris in 2004. She attended California Institute of the Arts in 2003; Skowhegan School of Art, Maine, in 2009; and the International Studio & Curatorial Program in 2011. Her studio is currently located at the Elizabeth Foundation for the Arts in Manhattan. Her work has been exhibited internationally, in Europe, Middle East and U.S. in group and solo exhibitions. Benbenisty is currently lives and works in New York and Tel-Aviv.

El Museo de Los Sures was born by a partnership between Los Sures with Cornell University and Churches United for Fair Housing to preserve the history of the neighborhood’s residents. This exhibition is the fourth collaboration between Los Sures and ISCP.

This program is supported, in part, by the Milton and Sally Avery Arts Foundation, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, Speaker Mark-Viverito and Antonio Reynoso, Council Member, 34th District, the New York State Council on the Arts, and the National Endowment for the Arts.

El Museo de Los Sures
120 South 1st Street, Brooklyn, NY

Participating Residents

December 9, 2014

Salon: Claudia Chaseling and Yuri Yim

Working with two and three-dimensional expanded painting, Claudia Chaseling will provide insight into the sources of her recent spatial paintings created at ISCP, in addition to previous work from this series. Chaseling’s work traverses between formally abstract painting and narrative political drawings captured as graphic novels.

Yuri Yim will present her recent work as well as installation works created in collaboration with sound artist Insook Bae and dancer and choreographer Craig Patterson. Yim’s immersive works usually integrate images and sounds to stimulate the viewers’ participation.

Participating Residents

Offsite Project
November 25, 2014–October 25, 2015

Asae Soya: Ringing Waves

The International Studio & Curatorial Program (ISCP) and the New York City Department of Transportation’s (DOT) Art Program are pleased to announce Ringing Waves, a temporary art installation on the bridge at 45th Street between 10th and 11th Avenues by artist Asae Soya. Soya’s mural visualizes the multitude of sound waves that pervade New York City, such as voices, traffic noises and music. Sound waves circulate within the city generating a force of energy. In addition, the wave forms in this work are a metaphor for the numerous perspectives that coexist within this city.

Asae Soya received her doctorate in painting from Tokyo University of the Arts in 2006. Her awards include the First Prize in Vision of Contemporary Art, 2002 and the SHELL ART AWARD, 2002. Her recent solo exhibitions include sora-iro, Art Tower Mito, 2013; Float, Nishimura Gallery, 2011; Swim, Obuse Museum, 2011 and Ringing, Shiseido Gallery, 2010. Her group exhibitions include shows at Fuchu Art Museum, Art Tower Mito, Sezon Museum of Modern Art, and PYO Gallery, Beijing. Soya has major public works in the Sankei Building, Totsuka Ward Office, Art Tower Mito, Takamatsu City Museum of Art, and Tokyo Station Gallery. In 2013, Soya’s collection of works Asae Soya: sora-iro (color of the air) was published by Seigensha Art Publishing.

The New York City Department of Transportation launched the 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. Soya’s Ringing Waves is part of Participatory Projects, ISCP’s program that commissions new works by current residents and alumni in the public realm. This is the eight collaboration between the two organizations.

Special thanks to Agency for Cultural Affairs, the Japanese Government, KANEKA Corporation, the National Endowment for the Arts, Marcus Pierce Fine Art, Gaku Tsutaja, Hiroshi Taguchi and Taeko Nanpei for their support.

45th Street between 10th and 11th Avenues, Manhattan

Participating Residents