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Sujin Lee, “Ah Ahk Ahk Aht Ahn”, February 26 – April 26, 2016

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Sujin Lee

Ah Ahk Ahk Aht Ahn

Ah Ahk Ahk Aht Ahn  – Kiyuk
HD video, B&W, 10:20, Sound
2015

Ah Ahk Ahk Aht Ahn  – Ssang Kiyuk
HD video, B&W, 09:25, Sound
2016

11172 is the number of possible consonant-vowel combinations in Korean language (my mother tongue), which can be displayed in Unicode. They are theoretical combinations for a written language; therefore, many of them are not used in actual speaking and writing.  Ah Ahk Ahk Aht Ahn is a series of 19 single channel videos in progress.  The videos are organized in groups by their first consonant from ㄱ(kiyuk) to ㅎ(heeut). There is a voice prounouncing each consonant-vowel combination shown in the screen. I began this project wanting to focus on the sounds and shapes of the letters and also to contemplate on the physical act of reading aloud. While working on this project, I re-experienced what I felt when I was learning to speak English – being very aware that I am making sound through my body and organs.

Sujin Lee uses text, video and performance, exploring the way in which different cultural and linguistic systems affect the actions of language. Lee has been awarded residencies from Millay Colony for the Arts, Blue Mountain Center, I-Park and Newark Museum and participated in the AIM program at the Bronx Museum of Art and the Emerge program at Aljira. She was a 2012-2013 A.I.R. Gallery Fellow in NYC and a 2014-2015 artist-in-residence at Kumho Art Studio in Korea. Lee earned her BFA from Maryland Institute College of Art.  She holds an MFA in Studio Art and an MA in Performance Studies, both from New York University. She has exhibited internationally.

For more information, please visit http://www.sujinlee.org.

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Walton Fields, Dumitru Gorzo and Molly Stevens, February 19 – April 19, 2016

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Manhattan Project(s) is pleased to present Walton Fields, a photo-collage installation at Manhattan College’s Riverdale, NY campus that documents the site-specific sculptural painting installation by Dumitru Gorzo and Molly Stevens in Walton, NY.

See the Installation live through August 2016 at 218 E. River Road, Walton, NY 13856

DUMITRU GORZO
b. 1975, Ieud.
Lives and works in Bucharest and New York.

Co-founder of the artist group and movement Rostopasca, the most influential artist group in Romania in recent decades, Gorzo has had solo shows in museums such as MNAC, Bucharest; NJ MoCA, New Jersey; Brukental Art Museum, Sibiu; as well as in art galleries and not-for-profit art institutions across US and Europe. He has participated in numerous group exhibitions at prestigious art venues such as the Istanbul Biennial; Marina Abramovic Institute, San Francisco; Kunsthalle Budapest (Mucsarnok); MODEM Modern and Contemporary Art Center, Debrecen; MKM Museum Kuppersmühle, Duisburg; Kultur.
http://www.SlagGallery.com

MOLLY STEVENS
b. 1972, New York
Lives and works in New York City and Walton, NY.

Molly has exhibited her paintings, drawings and videos across the United States, in Europe and in Mexico. She has had solo exhibitions at the Smudajescheck Galerie (Ulm, Germany), Slag Gallery (Bushwick, NY), Living Arts of Tulsa (Tulsa, OK) and Highways (Santa Monica, CA). She received her MA in Art in New Media from NYU, and her BA from Sarah Lawrence College.
http://www.MollyStevensVisualArt.com

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How do you feel about the diverse approaches to the shapes?

DG: It’s probably one of the strongest aspects of the project. Remember, we’re outside, so whether we like it or not, we’re forced to compete with nature. And nature is powerful, diverse and well composed. So the diversity is one of the few things that makes an art installation in this kind of environment possible.

MS: Plus, I think it’s important to be expansive, not reductive; to be wide, not narrow.

Why is outside important?

MS: I love the way paintings look outside. It has to do with the contrast and complement of nature and the hand. I like seeing a tree and an image of tree side by side, for example. But you can’t compete with the actual landscape; you can’t copy it either. They are two different vitalities in an unequal relationship. You can only complement or contrast them. The landscape can easily dominate an outside work, crush it. Artwork could colonize the landscape, but that’s not the goal here.

For how long will be the project up?

DG: Well, we’re planning on one year. It could be less but probably it will be more, at least parts of it. Or, who knows, maybe it’ll became something else.

Is the number of the pieces important. Is there a certain number you are aiming for?

MS: Being spare is precious. Numerousness is more generous; it’s more to look at, and it’s more complex to look at. Numerousness in this case provides many levels of seeing and interpreting. It creates a world. Numerousness in this case also is a way to not be dominated by the surrounding landscape.

How did this project start? Are there any sources of inspiration?

MS: I had worked with Gorzo on smaller projects. I had also been working in a small studio in NYC. When I began working upstate, everything got bigger. If you work in a rural area, you have to deal with what’s outside. In the city, you have to get away from outside when you work.

Do each or some of the pieces have a particular meaning?

MS: Certain themes have emerged. I have a series of portraits of artists, often with plants growing from their heads. That’s about fertility. Two of the pieces that I consider important are the narcissists, people looking at themselves. That’s about image and self-reflection. Then I have words, which I’ve been working with for many years, both as shapes and for their sound and meaning.
DG: If by particular meaning, you mean something literal, then some have a story behind them. Others are like promises and probably many of them are visual constructions independent of words, psychology and myself.

How do you feel about them being outside exposed to the elements?

DG: In a way, the elements function as an age accelerator and that’s part of the process. Who knows, with some luck, some may look better in the end.

Will the work be deteriorated by the end of the project?

DG: Not too much. They’re quite well protected.

How do you think the local community will react to this installation? Is there any reaction you want from the viewer?

DG: We’re not looking for a specific reaction, we’re not entertainers. If somehow we can break the routine of the accidental viewer – which is the most common kind -,  if the question marks in somebody’s head create a story, a need for a story, that’s a good start.

How do two artists work together? How does the fact that there are two artists working together influence the project?

DG: A good part of working closely with somebody during a project is that you sometimes do things that aren’t necessarily part of your usual practice. You move forward, you push and you’re pushed. And sometimes, when you least expect it, you might see the other person coming with a solution for something that you’ve also been searching for.

MS: Sometimes we were working right next to each other, using the same colors and mixtures; and then there are works that were done when we were on different continents. All this time we were moving in the same direction. The target was a field with art. The project was fragile and faceless in the beginning, then it got better, then it broke, then it became alive again.

Are these paintings or sculptures or is it a single installation?

MS: I don’t consider this public art; I don’t consider this land art; I don’t consider this a sculpture park; I consider this an outdoor exhibition of paintings on wood forms. They are sculptural, and together they make an installation. But I don’t want to be strident with definitions.

Can these pieces be shown elsewhere?

MS: These works can be shown in different configurations, on or off the stick.

How does this project correspond to your other work?

DG: This project is part of what we’re doing, a natural continuation our work. There are aspects that are new for each of us and that’s one of the things that makes it worthwhile.

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Sujin Lee, Sound Film, November 15, 2015 – February 4, 2016

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Sujin Lee

Sound Film

‘this landscape
Who Saw What’s on the Top Shelf?
Text to Speech (Statement)

Single-Channel Videos
2012-2013

Sujin Lee uses text, video and performance, exploring the way in which different cultural and linguistic systems affect the actions of language. Lee has been awarded residencies from Millay Colony for the Arts, Blue Mountain Center, I-Park and Newark Museum and participated in the AIM program at the Bronx Museum of Art and the Emerge program at Aljira. She was a 2012-2013 A.I.R. Gallery Fellow in NYC and a 2014-2015 artist-in-residence at Kumho Art Studio in Korea. Lee earned her BFA from Maryland Institute College of Art.  She holds an MFA in Studio Art and an MA in Performance Studies, both from New York University. She has exhibited internationally.

For more information, please visit http://www.sujinlee.org.

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Mallie Sanford, Single-Channel Videos, September 15 – November 15, 2015

Mallie01My work reflects upon a wide range of personal anxieties, which extend from body image to a deep concern for the environment. By combining scanned, found, and handmade objects with live performance and video, I build environments that stage humorous interactions between materials and the body and the anxious relationship between the two. Inventing ways in which an unstable material, form or image can be suspended or preserved is important to my process. I use a flatbed scanner to transform and store an object in digital space. When I scan objects it is in order to preserve and then liberate them as moving images. I integrate them into these videos and animate them in an attempt to transform the relationships and meanings of these objects. These processes of preservation and transmutation are central to the way I find spaces for objects. I have always been drawn to the color green because I grew up surrounded by plants, whether it was the creek in my backyard or my grandparent’s farm. The world of plants and shades of green have been a constant and productive space for me. Working with green-screening allows me to create my own personal ecosystem where I can integrate my own body into a space with these objects that I have transported into the digital. I layer green screen videos on top of one another in a desire to inhabit and develop this space. Through filling, layering, and manipulating digital materials and my digital self, I’m able to satisfy an anxious struggle that I feel to fill empty space.

Mallie Sanford lives and works in Brooklyn, NY. She studied Sculpture + Extended Media at Virginia Commonwealth University, where she received her BFA in 2014. She experiments in many different medias, which include video, performance, installation, painting, digital printmaking, sculpture and music. She has primarily shown her work in Richmond, Virginia, but is starting to become more involved in the DIY art and music scene in Brooklyn. Recent shows in 2015 include This One’s For You, Gallery 5, Richmond, VA; Hold the Phone, Circle Thrift and Art Space, Richmond, VA; and Bushwick Open Studios, R&D Studios, Brooklyn, NY.​

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Karla Carballar, Despúes de las historias de infancia, May 15 – September 15, 2015

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Carballar’s videos are performative actions, based on the artist’s solitary performance for the camera, they tell stories about mental states and personality traits. The camera follows the action as an objective observer, and the subtle transformation captured by it – in long, slow, real time shots – taking the audience on an emotional journey. Through movement, gesture, color, and sound the viewer is invited to enter the internal realm of the characters. The videos have the texture of a dream or a memory, where no questions will be answered, and after which an uneasy feeling remains.

Karla Carballar was born in Mexico City. Her work in video, photography and installation has been exhibited in the US, Mexico, Asia and Europe, including Ex Teresa Arte Actual Museum, Mexico City; Today Art Museum, Beijing; the Stadsschouwburg Theater, Utrecht, NL; Jamaica Center for the Arts, New York City, and Dukwon Gallery, Seoul. She was an Artist in Residence at the Watermill Center in October 2014 with the arts collective Lydian Junction. She has participated in the Bienal de Yucatan, Mexico; and the Encuentro Nacionald e Arte Joven, a year traveling exhibition around Mexico. Karla Carballar holds a Master of Arts from the New York University, and a Bachelor in Graphic Design and Photography form Universidad Intercontinental in Mexico City.

She currently lives and works in Brooklyn, New York.

Priyanka Dasgupta, “pairi-daêza”, February 15 – May 1, 2015

Priyanka

pairidaêza
single channel video installation (silent)
5’23” (loop)
flat screen monitor

pairi-daêza, or ‘paradise’ as we know it today, signifies a place of harmony and contentment, removed from the miseries and suffering of human strife. Across cultures and religions, the word evokes a state of bliss, an utopia. A literal translation of this word however, means ‘to build a wall around’, where pairi translates to ‘around’ and daêza, from diz, to ‘build (a wall)’. This video, in its presentation of an apparent paradise, draws attention to this dichotomy – leaving the viewer with an oasis, that is ultimately just a mirage; an ephemeral, digital image.

Indian born artist, Priyanka Dasgupta’s installations comprise of multiple­channel video and sound pieces, interspersed with large­scale flat sculptures, reminiscent of shadow puppets. The work results from her transcultural identity and the conflicts that arise from this situation. Combining digital and traditional media, Priyanka works across disciplines, making use of multiple, visual language systems to layer the c​ross­​cultural dialogue that is implicit in the themes she explores.

Priyanka is the recipient of an N​EA g​rant (2004). She has participated in the T​ransparent Studio​residency at Bose Pacia (2012), A​ljira Emerge with Creative Capital​(2007) and the AIM Program​(2005), in New York. Priyanka’s installations have been exhibited in the US, Europe and Asia, including the Queens Museum, International Center of Photography, Jersey City Museum, Galleria di Piazza San Marco, the British Film Institute, Lalit Kala Akademi, and Seoul Art Space. Her work has been reviewed by publications including the New York Times, the Times of India, Art India and Take on Art.

Priyanka has a Masters in Studio Art from New York University & the International Center of Photography, and a Bachelors in English Literature from St. Stephen’s College, Delhi, India. She lives in New York, and teaches Contemporary Art and Media at New York University and City College. Priyanka is represented by Shrine Empire Gallery in New Delhi.

http://www.priyankadasgupta.com

Faculty Projects #5, Gautam Kansara, “Wearing Through News”, February 15, 2014 – April 15, 2015

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“Wearing Through News” is an ongoing project that focuses on “important” headlines on the front-page of the New York Times. The importance of a story or headline is usually delineated by the font size. In this project I have focused on headlines that are of the utmost importance according to the editors, in that the font is large and all the letters are capitalized. Such large, capital, bold-faced headlines used to be, in years past, quite a rare occurrence. However, in recent history, as the pace of world events has accelaerated, so has the appearance of these headlines. In 2014 there were more than 10, while in 2001 there were only 2.

The headlines are transferred to T-shirts through the analog photographic process of Cyanotype, which is in fact one of the earliest photographic processes, first discovered in 1842. The process involves a liquid emulsion, which means one can paint it onto almost any surface, like cloth, paper, wood, metal, etc. After applying the emulsion and letting it dry, a contact print process is used to transfer the image to the clothing. The article is then exposed to direct sunlight for about 20-30 minutes. Cyanotype is a UV sensitive emulsion, so the sun is all one needs. After exposing, the article is then simply washed with water in order to develop the image.

In “Wearing Through News” the T-shirts have also been toned with various types and strengths of tea, a common toning agent, to deepen and separate the color. In addition these particular images have gone through an extreme bleaching process that has weakened the fabric. The cotton and the polyester have begun to separate, which means that through wearing and washing the images of the headlines will deteriorate and flake off over time, a reference to the temporary nature of any news story as it rises and falls within the confines of the 48-hour news cycle.

Gautam Kansara (b. 1979, London) is an artist and educator based in Brooklyn, New York. Gautam’s video and photographic work is part of prestigious private collections including The Burger Collection, Hong Kong, The Shreya and Swapan Seth Collection, New Delhi, and the Permanent Collection of the Center for Book Arts, New York City. Since 2002 his work has been featured internationally in numerous exhibitions and screenings, including Alongside the Poison Dartz, Secret Project Robot: Institute for the Living Arts, Brooklyn, NY (2014); Faculty, National Academy Museum, New York City (2013); This is familiar, but I can’t remember now…, Dumbo Arts Festival, Brooklyn, NY (2012); Multiple, Unique, Limited: Selections from the Permanent Collection at The Center for Book Arts in New York City (2011); A Place of Their Own at BMB Gallery in Bombay (2010); No Soul For Sale at X-Initiative in New York City (2009), us between us at Real Art Ways in Hartford, CT (2008); Rencontres Internationales at the Reina Sofia Museum in Madrid (2008); We Will Always Be There For You at Kunsthaus Dresden (2008); TV Dinners at LMAK Projects, New York City (2007); AIM 26 at The Bronx Museum of the Arts in New York City (2006). Gautam has been an artist-in-residence at Smack Mellon, Lower Manhattan Cultural Council’s Swing Space, and the Center for Book Arts, all in New York City. Gautam is faculty at Manhattan College’s Visual and Performing Arts Department, and a adjunct professor at New York University’s Department of Art and Art Professions.

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