Exhibition
July 24–August 23, 2013

Brian Duggan: We like it up here, it's windy, really nice.

ISCP presents We like it up here, it’s windy, really nice. by Dublin-based artist Brian Duggan.

We like it up here, it’s windy, really nice. features a new installation specifically created for the ISCP gallery space inspired by methods of crowd control in Indonesia. In 2012, state-owned railway company PT Kereta Api introduced a new deterrent to stop people from riding on the roofs of trains on their overcrowded network. After other efforts had failed, they decided to introduce concrete balls hanging as hazard barriers, to knock passengers off the roof of the trains.

The installation intends to present a situation that actively engages viewers in the dichotomy between governing systems and how people respond and navigate powers placed in their way. Duggan’s mock up train roof allows participants to walk in the center of the gallery and see it from a new perspective. Central to the project is the roof riders response to the new life threatening hazard.

“I was really scared when I first heard about these balls,” said Mulyanto, a 27-year-old shopkeeper, who rides between his hometown of Bogor and Jakarta almost every day for work. “It sounds like it could be really dangerous.”
“But I don’t think it’ll last long,” he said. “They’ve tried everything to keep us from riding … in the end we always win.”
“We like it up there, it’s windy, really nice.”

Opening Reception: Jul 24, 2013, 6-8pm

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Participating Residents

Brian Duggan

Current and Upcoming Events & Exhibitions

Sujin Lim: The Land, Dark and Muddy

Through February 7

Exhibition

Somewhere Inside: ISCP and the Studio

Through March 7

Exhibition

Offsite Project
July 22, 2013–March 20, 2014

Tang-Wei Hsu: Monkey Magic

The International Studio & Curatorial Program (ISCP) and the New York City Department of Transportation’s (DOT) Urban Art Program are pleased to announce Tang-Wei Hsu’s Monkey Magic, a new artwork produced for the pedestrian safety island at 9^th Avenue and 36^th Street in Manhattan.

Monkey Magic, continues Tang-Wei Hsu’s use of anime and science fiction-influenced graphics. This totemic sculpture references the ancient South Asian fables Three Monkeys and The Journey to the West as well as Hsu’s own experience in New York where he has lived intermittently for the past three years. Coated with symbols of both landscape and manufacturing, the figures extend into the surrounding bustle, offering brief respite to passersby.

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.

Special thanks to Ministry of Culture, R.O.C.(Taiwan) and Taipei Cultural Center in New York for their support.

9th Avenue at 36th Street, Manhattan, NY

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Participating Residents

Tang-Wei Hsu

Courtesy of the artist

Current and Upcoming Events & Exhibitions

Sujin Lim: The Land, Dark and Muddy

Through February 7

Exhibition

Somewhere Inside: ISCP and the Studio

Through March 7

Exhibition

Offsite Project
July 10, 2013–April 30, 2014

Jen Liu: Melon Mysticism for Everyone

The International Studio & Curatorial Program (ISCP), together with the NYC Department of Transportation’s (DOT) Urban Art Program, are pleased to present Jen Liu’s Melon Mysticism for Everyone, five photographic vinyl banners located along the Manhattan Bridge bike fence on Forsyth Street between Canal and Division streets in Manhattan. The banner series will be on display for a period of 11 months.

The five banners feature a watermelon that has been carved into a mandala pattern, being eaten by a series of animals: a goat, sheep, horse, and chicken. Chinatown food markets and the diverse neighborhood located around the Manhattan Bridge brought Liu to reflect on the ideas of unity and community, and the communal eating of watermelon by the animals acts as a humorous metaphor for the functional cohesion of immigrant communities in New York City. The artist notes, “the diverse community that exists in the Chinatown markets is not an abstraction, but something informal, messy and full of life.”

This project is being produced through the pARTners track of the DOT Urban Art Program and is the third collaboration between the agency and the International Studio & Curatorial Program.

NYC DOT Urban Art Program:
Launched in October 2008, DOT’s Urban Art Program invigorates the city’s streetscapes with engaging temporary art installations. It partners with community-based organizations and artists to present murals, sculptures, projections, and performances on plazas, fences, barriers, bridges, and sidewalks for up to 11 months. Projects are presented within three program tracks: pARTners, Barrier Beautification, and Arterventions.

Manhattan Bridge

Forsyth Street between Canal and Division streets in Manhattan

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