AROUND TOWN: Exhibition at LOFT594, “The Trip”

The Trip
at LOFT594

Loft 594

Exhibition Dates: December 13, 2013 through January 5, 2014
Location: Loft 594 Gallery, 594 Bushwick Avenue, 2nd Floor, Brooklyn, NY 11206
Gallery Hours: Sundays from 12pm to 5pm and By Appointment
Contact: / Facebook
Gallery Curator: Ryan Bevilacqua,

This show features everything from sculpture to painting to video art
and takes you on a trip from the city back to nature.

To view the show, feel free to email
or Ryan Bevilacqua (, the Gallery Curator.

Slideshow of Works / Photos of the Opening Reception

TONIGHT: Bridging Bushwick

Bridging Bushwick

Monday, December 30, 2013
from 6:30pm to 9:00pm
at The Living Gallery

Bridging Bushwick

Join us!

SO many beautiful humans came to our first event.
We are going to host this twice a month!

Bring a dish that represents you & your culture!

Our goal is simple: get to know your neighbor!
Nuestro ojetivo es simple: Conozca su nieighber

We want to create a safe and welcoming environment
where we can begin to erase stereotypes and negative energy
that surround our community.

Through monthly discussions we believe that we can learn
more about each other and view each other as people, not as a race or gender.

Founded by The Living Gallery BK & Jazzabelss Boutique
To propose a topic email us at

RSVP on the Facebook Event!

AROUND TOWN: Exhibition at Jackie Klempay Gallery, “Josef Bull: Casa Piramidal”

josef bull - casa piramidal


Exhibition Dates: November 16 to December 31, 2013
Jackie Klempay Gallery, 81 Central Avenue, Brooklyn, NY 11206
Gallery Hours: Wednesdays, 7:30pm to 9:30pm and By Appointment
For More Information Contact: 

From their website:

Guided by garage scientists and fringe thinkers, youtube videos and dust bunnies of the internet, Josef Bull cross-breeds western backyard culture with tools of transcendence. This exhibition includes a series of meditation-pyramid folding chairs and a functioning PVC-pipe Didgeridoo that enables full-body sound bathing, providing solutions for spiritual experiences in domestic settings. 

Josef Bull (b. 1984) graduated from Konstfack University College of Arts in Stockholm, Sweden in 2009.  He has exhibited internationally at Museum of Ethnograpy Stockholm; Mare Gallery, Crete; Hanaholmen Cultural Center, Helsinki;  Forgotten Bar / Galerie Im Regierungsviertel, Berlin;  Peter Bergman Gallery, Stockholm. He’s a co-founder and editor of the publishing house and artist collective Nautofon.

We thank The Swedish Arts Grants Committee for their generous support of this exhibition.

AROUND TOWN: Exhibition at Outlet Brooklyn, “3 Artists / 3 Weeks” and “15 Artists in Black and White”

3 Artists / 3 Weeks
and 15 Artists in Black and White

Exhibition Dates: December 13 – 29, 2013
Location: Outlet Brooklyn, 253 Wilson Ave, Brooklyn, NY 11237
Gallery Hours: Saturday and Sunday from 12pm to 6pm
Contact: / Facebook

Here is their Press Release:

Bushwick, Brooklyn— For just three weeks, OUTLET will present new work by three artists: Mary JudgeJohn Redmann, and Ned Shalanski. In addition, the gallery will present small work in black and white by 15 artists which offers a cross section of current contemporary trends yet with a common thematic color.

This exhibition brings together three artists which work in repetition and whose process involved a multiplicity of refinement, process, and duplication.

Mary Judge builds upon classical proportions in her new paintings. Inspired by the architecture of ancient ritual spaces, Judge calculates the essential elements to offer only the most minimal in her mystic image-space diagrams that are her paintings. A refinement of media and form the paintings build upon her process of automatic drawing and structured patterns that the artist has devised and refined as personal vocabulary. Color is added to accent and augment. Symmetry is present but is often subverted as a way of keeping things open. There is also a relationship to the landscape, just as an architect is attentive the topography of the grounds that surround the space of building, these new paintings are attentive to a subconscious landscape were subtlety and simplicity are the make up of drama. Building upon her long history and love of working with paper and pigment, this new work “travels to the same place” both psychically and cognitively, moving those ideas from paper to canvas.

Judge currently lives and works in Brooklyn and St. Louis, MO. Her work is in the collections of The Fogg Museum Harvard University, Cambridge, MA; The British Museum, London, UK; The Victoria and Albert Museum, London, UK; The Philadelphia Museum of Art, PA; The Allen Memorial Museum of Art, Oberlin, OH; and The Corcoran Gallery of Art, Washington, DC, and a recently dedicated permanent sculpture for the Missouri Botanical Garden among others. Recent solo exhibitions include Opus & Light Anno XVI-Madonna del Pozzo, Porta Monterone Spoleto, Italy, 2013; Pop-Flowers, Storefront, Brooklyn, 2011. Additionally Judge is the director and founder of Schema Projects.

The new series of prints by John Redmann are a culmination of deconstructing the principles of printmaking. Transforming printmaking from a secondary medium to a primary means of image creation is what Redmann currently explores evoking images as lost dreams. Building on hybrid techniques which come from a source of frustration with conventional methods his process involves pulling out clean sheets of paper making them into paper sculptures, crushing them, printing onto them, and then using them negative as a basis for the image is something that comes about after hours.

Redmann was born in Blytheville Arkansas. His father was in the military and this afforded him the unique privilege of traveling across the country and meeting people from all walks of life and different cultures. He has a degree in industrial design from Pratt Institute (2005), and continues to live and work in New York City.

Since 2010, Ned Shalanski has explored psychology and visceral emotion through abstract compositions of a diverse materials palette. His earliest works include colorful mark-making and mixed media collages on paper. In 2011, he began executing site-specific performances, targeting similar issues through the body’s presence in and engagement with public, often-overlooked settings. That summer, Shalanski completed an art residency in Beijing during which he completed Caochangdi Message, a video work exploring individual perception with regards to culture and localized space. In 2013, he completed the post-baccalaureate program at the New York Center for Art and Media Studies. While there, Shalanski used insulation foam, spray paint, and domestic organizational elements and imagery to create medium-to-large scale three-dimensional compositions. These tightly-composed, unassuming tableaus draw from a balance of order and disruption, predictability and unpredictability, and furthered the artist’s continued interest in visual representation, excess, and sterilization. Shalanski holds a Bachelor of Science degree in Landscape Architecture from Cornell University. He works as a landscape designer for the New York City Parks Department and lives in Brooklyn.

15 Artists in Black and White: Wayne Adams, Emily Berger, Rico Gatson, Letha Wilson, Audra Wolowiec, Brent Everett Dickinson, Joshua Cave, Reid Strelow, Sarah Lee, Sophia Wallace, Michael Alongi, Tim Campbell, Shannon Finnegan, Jen Hitchings, and Brittany Market.

REVIEW: Camera in the Mirror: Response to Migrating Forms Programs 3 and 4

Camera in the Mirror: Response to Migrating Forms Programs 3 and 4
written by Conor O’Brien, The Living Gallery

Screenshot from Ian Cheng’s “bbrraattss.” Taken from his Vimeo channel.

Screenshot from Ian Cheng’s “bbrraattss.” Taken from his Vimeo channel.

The mirror is a threat to the film illusion. In the presence of a mirror, the camera is in danger of being revealed; it is timid: approaching the mirror cautiously, and angling itself in such a way that it remains hidden. A familiar and relatively harmless object in daily life, the mirror is an absolutely subversive, destructive force in the world of film; painstakingly avoided for those films that aim to keep film illusion undisturbed. The familiar technique of horror films is to use a mirror to reveal the monster. A character is in the bathroom with the mirror angled toward his/her face. The mirror is then turned suddenly and the monster is revealed to have been standing there, behind the character the whole time. This technique is meant to heighten the shock of the reveal, but because it remains within the fantasy of the film, this revelation of the monster ultimately comes as a relief. It is a displacement of the true threat: the mirror suddenly angled in the other direction, revealing that a camera has been standing behind the character the whole time. The shock of this revelation stems from realizing that your experience is being manipulated, forced through a lens over which you have no control. It is the shock of looking into a mirror and seeing, in place of your own reflection, a different reflection, the eye of a camera.

In Stephen Broomer’s “Pepper’s Ghost,” shown at BAMcinematek’s Migrating Forms Program 3, the camera remains in the center of the shot through the film’s entirety. According to the trailer posted on Broomer’s Vimeo channel, the film is shot in two rooms separated by a two-way mirror used for “psychological observation studies.” Throughout the film’s 20 minutes, Broomer and assistants create optical illusions using the two-way mirror, colored gel paper, and other objects in the rooms, lights, curtains, as a kind of meditative, guttural chanting plays over these shots. In one shot, Broomer seems to stand behind the camera next to a window. As he pulls down the window’s curtain, his image gradually fades away, and what seemed to be him standing in one room was revealed to actually be his reflection on the mirror from the other room. Broomer claims in the trailer that the mirror is transformed into a “mysterious tunnel.” The film seems to be about the kind of funhouse effects that are achieved when, instead of being timidly avoided, the mirror is surrendered to; when both mirror and camera are allowed to respond to each other.

Gina Telaroli created her piece “Amuse-gueule #1: Digital Destinies,” by playing a copy of the 2009 movie “Public Enemies” starring Johnny Depp on an old television and using a Blackberry (with, she claims, poor zooming capabilities), recorded the same 12 minutes of the movie four times, at four different levels of zoom, and these recordings are played simultaneously. The television frame is in the center of the shot, but because four different versions of the film are playing at the same time, the images seem to float out of and around the frame. By using “poor” recording technology, the Blackberry recordings draw attention to the materiality of digital film: images of the appropriated film become fuzzy, blown out, distorted, non-referential abstractions; the images are rendered material, reduced to their material qualities: light, transparency, color, form, movement.

Telaroli and Broomer’s films are similar in this way: they are explorations of the elements of filmmaking most films attempt to subdue. These are the mechanical elements, the materials and techniques of film that make up the film illusion. Rather than trying to work around the “inferior” recording technology of her phone, Telaroli emphasizes it, and as a result the images in her film burst with overexposed light, unsubdued and unconstrained.

Many of the other filmmakers in the program are also interested into playing around film’s material production. Andrew Lampert presented a restoration of the original print of Roger Altman’s film “The Long Goodbye,” which Lampert claimed to have purchased for $20 from a magazine. The piece highlights the process of colorizing black and white footage, the idea behind which is that color film is better because it is closer to reality and colorization aims to enhance the illusion of reality on film. As the piece progresses, the fact that the film was artificially colored becomes increasingly obvious: colors become less natural and float free of any reference point.

Shambhavi Kaul’s film “Mount Song” shows shots of several artificially constructed sets of forests and temples. Devoid of human form, the artificial scenery becomes alien and disorienting. The two films by Ed Atkins, “Warm, Warm, Warm Spring Mouths” and “Even Pricks,” also the artificial construction of film, focusing specifically on the digital creation of images used so frequently in bigger budget film. The film’s title “Even Pricks” repeatedly flies at the viewer in different forms reminiscent of the title sequences of action movies. Computer constructed human and animal forms appear in undefined spaces to speak in often interrupted bits of dialogue. As in Kaul’s film, this emphasizing of artificiality becomes strange and disorienting: the images remain vaguely familiar, uncanny because we are used to seeing (often unconsciously) these techniques used in film, but we are not used to the heightening of their artificiality. Ian Cheng’s film “bbrraattss” is a short 3-minute clip of two computer generated figures, a humanoid rabbit and hunter, moving around and bumping into each other in a white space, their bodies twitching, bending, twisting in unnatural ways. The animation resembles a glitch in a computer game, a limitation of computer generation that is meant to be hidden or subdued. But, as with the other filmmakers, it is the “glitch” that interests Cheng, and the resulting film is both nightmarish and slapstick, unsettling and absurd.

The narrator of Benjamin Tiven’s film “A Third Version of the Imaginary” calls film an “amnesiac medium.” The film documents the Kenya Broadcasting Company as a narrator speaking in Swahili, talks about film and language. He claims that the word “image” does not exist in the Swahili language, the closest word is ‘taswira,’ which is more accurately translated as ‘vision.’ “Image” is an imported concept. He explains that at the television broadcasting company, films deemed significant are stored and preserved and those that are not important are filmed over. The narrator thinks about whether the filmed-over images still exist somehow beneath the new images. He thinks of this as being a kind of “guilt” that haunts the footage, that the old images refuse to be completely suppressed. The film ends with an employee of the broadcasting company playing footage of 1973 Independence Parade, but due to some technical problem the footage is distorted and discolored. The narrator explains that they were originally not allowed to film the screening of this footage, but since the images that were being projected were distorted, they were given permission to film.

Tiven’s film comments on our complicated relationship with images. Photographic and cinematic images are not objective. A photograph of an object, no matter how little it is influenced by the hand of the photographer, cannot be looked at in the same way as an encounter with the same object in the world. Images always contain some ideology. But the images of the Independence Parade in the film loose their power as ideological instruments, become useless as such, because of the technical difficulties which make the viewer aware of their artificiality. Such is the move of many films shown at Migrating Forms: to make the viewer aware of the power of images as ideological objects, to show them the reflection of the camera within the image.