10_dirtybomb1full
Iñigo Manglano-Ovalle: Phantom Truck is a to-scale reproduction of the mobile biological weapons lab presented by former U.S. Secretary of State Colin Powell to the U.N. Security Council as evidence of the Iraqi government’s possession and active production of Weapons of Mass Destruction.
”For me there are many connections between the bombs, roses, Freuds and waves… Aside from man becoming nature, the waves were about nature becoming man. They‘re so animate, so much about power, and feelings we all understand about being overpowered, somebody rising up and taking over. The bombs are the opposite. We are creating things that could make us obsolete. Which is a frightening thing.”
-Robert Longo
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dumplings
http://thai-flood-hacks.tumblr.com/
Erwin Wurm “Drinking Sculpture”
-cutting out of furniture
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jersey boys
<iframe src=”http://player.vimeo.com/video/27923433?title=0&byline=0&portrait=0″ width=”400″ height=”225″ frameborder=”0″ webkitAllowFullScreen allowFullScreen></iframe><p><a href=”http://vimeo.com/27923433″>Untitled</a> from <a href=”http://vimeo.com/user3420684″>Dafna Maimon</a> on <a href=”http://vimeo.com”>Vimeo</a>.</p>
dafna maimon
www.dafnamaimon.com
anetta mona chisa & lucia tkacova
mika rottenberg
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peter sutherland
scratchers
David Kramer
xu bing: tobacco project
doug aitken
Takeshi Miyakawa
Artcat.com
“A new listing at ArtCat, “The Opinionated Guide to New York Art” (http://www.artcat.com/exhibits/12258), caught my eye and led me on a recon mission through the nebulous territory between eastern Williamsburg and northern Bushwick in search of Brewers Mansion. The sun had set by the time I pulled up in front of 55 Waterbury Street. It was just before closing and I caught Megan Moncrief, the director, as she was heading home after the gallery’s first day of Beasts, its debut group show. Occupying the space next door to a hummus cafe, Megan chose the name as a reference to the neighborhood’s history of beer production. Scanning the offerings, a series of acrylic-on-panel paintings of erotically enhanced kittens and three-eyed harpies by Robyn A. Frank stuck in my mind; also, a rugged, funked-up abstraction by Nicholas Merchant-Bleiberg had a brutal facture that suggested a naïve authenticity.
Arch Collective NYC, established in April 2010 by Evan Collier, Jason Jensen, Max Demetrio, and Alex Kellum, is located in the garage behind 18 Wyckoff Avenue with its entrance at 390-400 Troutman Street. I popped in for the opening of the group exhibition, Man Dies, and was impressed by a pair of internally illuminated chair sculptures by Takeshi Miyakawa. On the west wall of the gallery, about four feet apart, were two narrow, roll-down metal street grates. Enter through them and you’re immersed in a tiny, one-seat self-service bar, complete with heavy mahogany paneling, brass taps, liquor bottles, and the smell of stale beer. This scrupulously detailed installation by Andrew Ohanesian combines the intimacy of a confessional (the bartender as priest, the patron as supplicant) with an alcoholically twisted version of “relational aesthetics.” Over the course of the show, the title Man Dies morphed into Mandies and was adopted by Ohanesian as the name for his compact drinking establishment.
Another phenomenon that keeps the viewing of underground art vital is what I’ll call the “salon space.” These operations, like the “The Oldest Established Permanent Floating Crap Game” are more or less permanent venues within people’s living spaces (some legal, some well…). Three I’ll mention briefly are: SUGAR, Centotto, and the Laundromat.
SUGAR is a continuation of the project Alcove, started by Gwendolyn Skaggs (who also works under the pseudonym Wendaferd Gregory) in Chelsea in 2007. A year ago Gwendolyn, opened her space at 449 Troutman Street and began showing work with a conceptual installation bent.
Paul D’Agostino is a professor of Italian and his love of the language and culture is evident in the announcements and newsletters he sends out for his Centotto at 250 Moore Street. Centotto’s latest offering is a two-person show contrasting the miniature landscapes of Josh Willis with the acrylic simulated paper works of John Avelluto.
I was standing under a loft bed watching a young crowd in front of a wall of bargain artworks (NOTHING PRICED OVER $100) when an exotic-looking blue cocktail held by a lady attracted my eye. The drink was served in a cubic glass and had a little white plastic shark floating in it. According to the menu it was called “The Physical Impossibility of Hangovers in the Mind of Someone Drinking.” It was whiskey and soda, a spot-on parody of Damien Hirst designed by Rebecca Litt. Ben Godward served up “The Oaxaca Beheading” a Corona topped with a shot of Bacardi Limon, which, for an added fee, was also available in a plastic-coated “sculptural” version. These drinks were part of Cocktails and Dreams, a “get the clients drunk and sell them art cheap” party at the Laundromat, 238 Melrose Street. Although Cocktails and Dreams was the last in a three-year series of events at this address, the team of Kevin Curran and Amy Lincoln will re-open the Laundromat later this season.
Despite hard times, creative types always seem to find ways around, over, or through the obstacles; just keep your eye on the cracks in the pavement.”
–loren munk
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