Off the tails of his recent runway collaboration with Maison Martin Margiela MM6 at NYFW, Artist Jesse Auersalo presents Dislocation, an exhibition event of sculpture and visual art.
September 30, 2014 | The Hole NYC
Reception from 6:00 – 9:00 p.m.
Hugo & Marie is pleased to announce Dislocation, a one night only exhibition event of print, sculpture, projection and sound at The Hole at 312 Bowery on the Lower East Side.
The exhibition by Finnish visual artist Jesse Auersalo, together with sculptor Man Yau and photographer Nina Merikallio, consists of objects and images. It takes Auersalo’s work from 2D to a 3D environment and back again.
Consisting of two parts, Checkmate and Exit, the exhibition explores different perspectives of the body, first entering and then exiting it. Ranging from over proportionate sex toys to platonic nudes, the pieces shown are characteristically provocative and harmonious at the same time. They work on intellectual and primitive levels — verging on the orgasmic — introducing new modes of experience while questioning everyday design and fashion photography.
Checkmate is a collaborative project between Jesse Auersalo and Man Yau. The project brings together sculpture and visual art. It uses traditional methods to produce avant-garde work on the borderland of art and design.
The exhibited pieces draw from two categories of adult playthings: chess equipment and sex toys. While chess is essentially a game of strategy and intelligence, sex is instinctual. One could also say that sex is for the body, while chess is for the mind. Checkmate explores these two games in relation to each other, asking questions such as: What constitutes a game? Can games be played without rules? How do the categories of form and function apply to playthings? Does one play to win or to keep on playing?
Utterly unusable, displayed like an unfinished game of chess in the gallery space, the Checkmate “chess pieces” consist of a series of six sculptures. Drawing from dildos and butt plugs, the sculptures are carefully handcrafted using sophisticated materials, such as marble, glass, and precious metals. A numbered edition of photographic prints accompanies the sculptures. They portray the King, the Queen, the Rook, the Knight, the Bishop, and the Pawn in images by photographer Paavo Lehtonen.
Exit is a series of photographs produced in collaboration between Jesse Auersalo and Nina Merikallio. The series stretches the field of fashion photography towards that of illustration, while avoiding the digital manipulation of images. The pieces combine two images and color spaces, the negative and the positive of a body, by means of projection. This analog process creates a dreamy yet realistic effect. Presenting a spiritual and almost haunted view of the subject’s figure, the sensation of an out of body experience is actualized. Like a statue once captured the body, consider the Exit images as monuments of the mind — a new way to sculpt the human form, or pornography in the age of chess and singularity.
Twwth, alias of producer Matti Pentikäinen, crafts an audio counterpart to the exhibitions visual core. Composed of an interplay of eerie blank-faced experimental ambient and polished grimy beats, to reference the visual elements, the performance will build over the duration of the event.
About Jesse Auersalo
Jesse Auersalo is a Finnish born illustrator, designer and art director who has received awards and accolades in prestige competitions such as in European Design Awards and D&AD Professionals. He has lectured and exhibited his work in galleries and museums worldwide. Auersalo has collaborated with clients such as SHOWstudio, Colette, Converse, Sony Music, Ninja Tune, The Fader, Complex, and Playboy. He recently created an artwork installation for Martin Maison Margiela MM6 for New York Fashion Week, art directed and designed an exclusive print collection for Diesel in Japan, and photo-directed and illustrated the stage design for J.Cole’s What Dreams May Come tour, including a concert featuring Jay-Z, in Madison Square Garden in New York.
About Man Yau
Man Yau is a Helsinki-based designer who has exhibited her works in Helsinki, Stockholm, Milan and Berlin. In Man Yau’s works, there’s an articulation of high-class elegance versus low life. She uses hands-on methods including sculpting and glass blowing. The process embraces these traditional techniques with contemporary undercurrents.
About Nina Merikallio
Nina Merikallio is an art and fashion photographer and filmmaker. Her works have been exhibited in Paris, Berlin, London and New York. She has a background shooting indie punk bands and underground warehouse techno parties, and has been honored with prestigious global awards in fashion photography including the Elle award. She’s currently living and working in New York.
www.thedislocation.com / www.jesseauersalo.com / www.ninamerikallio.com / www.manyau.fi
Carmel Quinn / Hugo & Marie
646 454 9959 / firstname.lastname@example.org
October 3 – November 2, 2014
OPENING: Friday, October 3rd from 6-9pm]]>
Remain in Light
October 3 – November 2, 2014
OPENING: Friday, October 3rd from 6-9pm
The Hole is proud to present the first US solo exhibition by Danish artist Rose Eken. For the exhibition Eken will exhibit a forensic assortment of hand-painted ceramics arranged by size on the floor of Gallery 3 and three large tapestries on the walls. The sculptures will include all the objects one might find in a punk venue, perhaps even our former across-the-street neighbor here on the Bowery, CBGBs. From microphone stands all the way down to tiny bottle caps and guitar pics, these handmade and hand-painted objects will create a personalized memorial to NYC’s dwindling lawless zones and the mayhem they contained. Their anthropological arrangement on the floor suggests a methodical and scientific approach to categorizing and analyzing a lost culture, as though a forensic dig of the venue unearthed these strange relics.
September 11 – 27, 2014
The Hole is proud to present the exhibition and performance series Future Feminism. Created by Antony, Kembra Pfahler, Johanna Constantine, Bianca Casady and Sierra Casady, Future Feminism will feature an exhibition of stoneworks in the main gallery and a thirteen-night performance and lecture series in Gallery 3. In this exhibition, they will debut the 13 Tenets of Future Feminism, a manifesto the artists and musicians have honed over the past three years from numerous retreats and meetings representing a frontier feminist perspective.
Each of the 13 nights, one of the 13 Tenets will be activated by the Future Feminists and their collaborators. Performances begin at 8pm, doors at 7:45pm, and all events are open to the public on a first come first serve basis. The auditorium comfortably seats 100 guests. All other visitors are welcome to enjoy the performances / lectures in the main gallery space via audio and video projection. Suggested donation: $10. If you are interested in attending the entire series, 10 limited seats are available for advanced purchase – please contact Krysta at The Hole for details. The opening reception is free.
Thursday, September 11: Opening 6-9PM
Friday, September 12: Bianca Casady, Sierra Casady, Rebecca Wright
Saturday, September 13: Johanna Constantine, Lydia Lunch
Sunday, September 14: The Factress aka Lucy Sexton, Clark Render as Margaret Thatcher, Laurie Anderson
Wednesday, September 17: Narcissister, Dynasty Handbag, No Bra
Thursday, September 18: Ann Snitow speaks with the Future Feminists
Friday, September 19: Kiki Smith presents Anne Waldman, Mei-Mei Berssenbrugge and Anne Carson
Saturday, September 20: Kembra Pfahler and The Girls of Karen Black
Sunday, September 21: Lorraine O’Grady
Wednesday, September 24: Marina Abramović
Thursday, September 25: ***Presentations by Jessica Mitrani and Melanie Bonajo, featuring a film by Carolee Schneemann
Friday, September 26: Terence Koh as Miss OO
Saturday, September 27: Viva Ruiz, Julianna Huxtable, Alexyss K. Tylor
Exhibition hours: Wednesday through Sunday, 12-6pm
Doors open 7:45pm / Performance Begins 8 pm
Suggested Donation of $10
More information on the artists:
Comprised of Sierra and Bianca Casady, CocoRosie recently premiered their collaboration of Bob Wilson’s Peter Pan in Paris and Berlin and completed a world tour in support their album Tales of a Grasswidow. “Sounding “like two little Billie Holidays an octave higher if you were on acid in Tokyo in 1926” - Jim Jarmusch
Antony - is a singer and visual artist. Antony and the Johnsons just returned from Madrid performing 4 nights at Teatro Real with Orquesta Titular del Teatro Real presenting the final incarnation of Swanlights originally commissioned by MoMA and performed at Radio City Music Hall in Jan of 2012. As a visual artist, he is represented by Sikkema Jenkins Gallery in NYC where he is currently in a group show entitled Works on Paper (Sep. 2nd-Oct. 4th).
Kembra Pfahler - Kembra Pfahler is a Hole artist and has done many projects with the gallery since its inception. She founded The Voluptuous Horror of Karen Black and is currently working on a performance technique with students called Performance Art 101. Her last show at The Hole was Giverny with E.V.Day, where she turned he gallery into a replica of Claude Monet’s garden in Giverny, France.
Johanna Constantine - Johanna Constantine is a dance based performance artist who recently danced at The Tate Modern in London in an exhibition by Charles Atlas.
These 5 artists (Antony, Kembra, Johanna, Bianca & Sierra Casady) have developed a series of vivid tenets for FUTURE FEMINISM during 3 years of intensive retreats. Collectively, they represent a frontier feminist point of view. FUTURE FEMINISM is a call to arms to reorganize ourselves as a species and affirm archetypally feminine values.
Tenet 1: The subjugation of women and the earth is one in the same.
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East Hampton, NY: Eric Firestone Gallery and The Hole are pleased to announce Storage Wars the first collaboration between the New York galleries.
Storage Wars examines the fundamental reality that much contemporary art resides in a crate or wrapped in plastic. Aside from the relatively brief period of its presentation in a white gallery, the lifespan of the artwork is dominated by languishing in storage between exhibitions. Galleries, and increasingly collectors, have extensive storage spaces packed with artworks. In an effort to reveal the previously unseen or briefly seen artworks in our inventories, Eric Firestone Gallery and The Hole will present a selection of this cache “as is.” The gallery will be stacked with crates opened to reveal their previously secreted away contents.
Visiting Storage Wars will be like getting a private tour of the galleries’ storages. It will include new works just arrived from overseas that will get to breathe for the first time alongside works perhaps forgotten in the galleries’ archive and pulled out for a fresh start, underground artists, chance secondary market works and a few surprises.
Relational aesthetics dictates awareness of the socio-cultural forces that inform one’s experience of art, this show intentionally exposes the art as objects whose lives dictate that they must be wrapped, crated, shipped and stored prior to exhibition then often sent right back into storage. If a gallery is a white box, where for a brief moment artworks are liberated from the confines of wooden crates to be shown for a month or so only to be packed away again, we seek to highlight this moment in the spotlight by literalizing the exchange of goods from within the exhibition space itself. At the same time, the beauty of the artworks will transcend this raw un-filtered presentation; the works appear as objects whose potential beckons, full of excitement to be liberated from their crates and resume their lives on walls beneath the admiring gaze of viewers.
Some artists on view from Eric Firestone Gallery include Sanford Biggers, Eric Freeman, Max Snow and Eric White. The Hole’s list features Kadar Brock, JIM JOE, Evan Robarts, Holton Rower, and many more.
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4 NEWTOWN LANE
EAST HAMPTON, NY 11937
July 10 – August 23, 2014
OPENING: Thursday July 10th, 2014 from 6-9PM
Timothy Uriah Steele
The Hole is proud to present our summer exhibition in the main galleries, Go With The Flow, looking at the diverse and contemporary uses of sprayed paint. From aerosol to airbrush and further into the field of atomized paint, these artworks range from the slickly gradiented to the more surreptitiously sprayed, with a lot of flying paint in between.
Atomizing paint is an approach often associated with the automotive world, industrial painting and products, even down to the boardwalk airbrush tee. The history of contemporary artists using spray is more limited; Surrealists explored the nascent technology, Kandinsky, too; and really not too much else went on in sprayed painting besides a 60s L.A. airbrush movement or Jules Olitski until the slick fabrication art of the 90s upsurge in industrial painting techniques. After digital technology made the world of images screenic and pixelated, gradients reappeared in painting as a mainly digital aesthetic with compressors the easiest way to achieve them in painting.
Simultaneous to all this, of course, the 70s and 80s birthed graffiti culture, the single most impactful global image movement, and the world’s cities have been covered in spray ever since. Besides the often-embarrassing graffiti art in galleries, this aesthetic mostly influenced painting from afar, with artists like Sterling Ruby borrowing the tools and vibe, or Barry McGee conceptually tackling the culture head-on with his animatronic tagger sculptures and huge fill-ins on museum facades.
But the commercial and the graffiti are not the only two angles from which to approach sprayed paint and this exhibition looks at the diversity of uses it has for contemporary artists now. Since Tauba Auerbach turned her Deitch Projects Williamsburg studio into a spray booth back in 2009, the number of emerging artists I have visited whose studio was prophylactically plastic-ed over for atomized paint is staggering. The impulses to spray are manifold:
Artists like Greg Bogin, Michael Staniak, Evan Gruzis, Eric Cahan or more emerging painters Timothy Steele or Zane Lewis favour the perfect color gradients possible only with spray. Getting the seamless tonal shift of a sunset across an artwork is the magic realm of sprayed paint where the eye can settle on no demarcation of color and moves over the surface with nothing to hold onto. Alien looking and anti-eyeball, sprayed gradients are the realm of the void–a non-space–and evocatively so.
Artists like Adam Henry and Keltie Ferris use spray in a chunkier or more literal way to examine the properties possible in the hovering of color through atomization. Ferris creates depths and fogs in her paintings while Henry creates autonomous geometries hovering on a fresco-like white background.
Trudy Benson includes a painting that has both sprayed elements and painted elements in the shape of the Photoshop “spray tool” looking at what the semiotics of spray includes and how a computer suggests it. Austin Lee’s work remains almost entirely in the realm of the computer-generated image aesthetic–though all his paintings are handmade with airbrush–and the figures and settings are cartoonishly left-handed and humorously maladroit.
Michael Dotson or Rosson Crow, Brian Belott or Wendy White use spray in works that are representational to selected and specific ends. Dotson uses spray in a digital way as a “gradient fill” where areas of the composition get a blast of color gradient to make a very screenic looking painting. Crow uses spray around her oil paintings of haunted-looking historical interiors to create a dreamlike atmosphere of hovering walls and furniture. Wendy White and Brian Belott here include sprayed and non-sprayed elements (a sweat sock, a photographic print, mirrored plexi) collaged together in hybrid compositions that perhaps ground the ethereality of spray in something tangible and recognizable.
JIMJOE, KATSU and Jesse Edwards come out of public street spraying culture but make works that are not graffiti but tangentially relate: JIMJOE’s painting features the tail end and the barely beginning of two well-known graffiti writers’ “fill-ins”, KATSU figured out how to program drones to carry spray cans and spray remotely: something very threatening to law enforcement but here in the realm of painting explores instead the technological mediation of painting. Edwards contributes an airbrushed ceramic television of semi-blurred-out Disney figures, emphasizing the rebirth of spray being tied crucially to our screenic culture.
Jessica Ciocci’s multi-panel piece emphasizes the DIY and handmade aspect of spray through the repetitive stencil compositions, highlighting how a can of spray paint puts rapid color in the hands of everyone and is a powerful and democratic tool. Dennis Hoekstra exhibits a multi-panel painting where, using spray and other secret faux-finishing techniques, he can recreate the distressed and diverse surfaces of the streets on canvas.
For more information on each artist, images or press inquiries please contact Krysta@theholenyc.com
Cover image by Zane Lewis, Untitled (Atmosphere I), 2014]]>