August 9, 2016, 6:30–8pm

Salon: Sara Eliassen and Guillermo Mora

Sara Eliassen’s conceptual cinematic practice investigates how moving images create collective memories and influence history. Her projects expose how popular mediated images construct us as subjects. During her presentation, Eliassen will speak about the gendered gaze in the moving image as well as some of her interventions in public space as a media activist. These works will frame current projects she has undertaken while in residence at ISCP, including a publication to accompany her film A Blank Slate (2014), in addition to a map of ideologies she has amassed from the history of cinema–beginning from early propaganda films through to contemporary screen culture.

Guillermo Mora’s recent work looks at the forgotten histories of painting and specifically ideas about acts of concealment, overlapping and disappearance. He will speak about his new project Hantaï escondido (Hidden Hantaï), based on the story of artist Simon Hantaï’s painting Untitled [Suite “Blancs”], 1973. This painting was hidden for years behind two of Roy Lichtenstein’s paintings in the MoMA’s warehouse in Queens and was only rediscovered in 2010 during the reorganization of the museum’s collection.

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

August 4–September 1, 2016

The Consonant of Noise, by Naomi Campbell

The International Studio & Curatorial Program is pleased to present The Consonant of Noise, by Naomi Campbell, an exhibition in ISCP’s first floor Project Space.

Naomi Campbell investigates issues pertaining to science and nature through her interdisciplinary practice, employing a wide variety of techniques and mediums including glass, x-rays, metal, ink, and even corn to compose sculptures, drawings, paintings, and mixed media installations. For The Consonant of Noise, she creates a braille pattern of corn kernels running across the gallery walls, and a sculptural installation on the floor, alluding to the global food crisis in which corn is paramount. As in the allegory of Plato’s Cave, she suggests how blind we are to reality, in this case, to the effects of the global food economy and genetic engineering on the world’s food supplies. Campbell’s visually compelling narrative combines art and science, highlighting her concerns about agricultural and humanitarian subjects.

Naomi Campbell (born Montreal) is a graduate of Champlain College, Quebec, Canada; Art Student’s League of New York; and studied at School of Visual Arts, New York, New York. Campbell has exhibited work at institutions throughout the world including: The Center for Contemporary Art, Bedminster Township, New Jersey; MUSE Center for Photography and the Moving Image, New York, New York; Tokyo Metropolitan Museum of Art, Japan; Museum of Fine Arts, Split, Croatia; Asian Contemporary Art Fair, New York, New York; and Denise Bibro Fine Arts, New York, New York. Her work is in permanent collections including: MTA Arts for Transit, New York; The New York Public Library; Geochang County, South Korea; City of Irving, Texas. Naomi Campbell has contributed to American Artist, Artscape, and Linea Art Journal. She has been an instructor at the Art Students League of New York since 2007, where she teaches contemporary watercolor. Naomi Campbell lives and works in Brooklyn, New York.

This exhibition is coordinated by Alexandra Friedman, Program Coordinator, ISCP.

This program is supported, in part, by New York City Department of Cultural Affairs, in partnership with the City Council.
Opening Reception: Aug 04, 2016, 6–8pm
Wednesday–Friday, 12–6pm
Open Hours: Wednesday–Friday, 12–6pm
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Participating Residents

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