CulBeat Express
2017.07.17 21:39
NARS재단 거주작가 10인 선정
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Summer heats up at NARS with 10 new residents
Ekin Balcıoglu makes site-oriented, project-based narrative work that engages people, place, language, and landscape. Her work deals with certain socio-political issues arising from current politics. It concentrates on issues of identity, immigration, and healing.
Rachel Garber Cole’s film and performance work are concerned with the flora of anxieties that roil around in our psyche, externalizing the intimacy of interior life in order to create new, fantastical, and surreal worlds. These worlds are highly theatrical, and employ a homemade aesthetic. Although she works primarily within the digital, Cole constantly reminds us of the tactile and the analogue: the physical process of creating images. She creates characters using papier-mâché, backgrounds out of construction paper, and shoots makeup and costuming in ways that allow the normally invisible materials of these masks to become visible, allowing us to see what has been built in an effort to paradoxically strip artifice away to get to the visceral.
Janna Dyk’s practice is a confluence of art-making, curating, and writing, informed by play, rhymes and riddles, conversations, mathematics, linguistics, and the concerns of poetry, experimental psychology, and photographic theory concerning perception and truth. Through drawing, photography, cross-stitch, writing, installation, and video, her work poetically navigates how we strain meanings through the matter of experiences.
Jackie Feng is a painter who draws upon her personal experiences to depict vibrant and colorful narratives that are tethered to no identifiable place or time but instead are suggestive and psychologically charged. Themes of intimacy, ambition, the sublime in nature and the tragicomedy of humanity run throughout her work.
There is an unseen logic behind the random assemblages in the abstract paintings of Bas Geerts, a structure that governs the intertwining and reflecting forms that populate each painting’s surface. To create these works, Geerts begins not with a brush, but by writing a computer program. The program he creates then produces designs, randomizing the size and shape of geometric forms. He paints the computerized results in layers of metal leaf, pure pigments, and acrylic paint. Though random by design, the pieces call to mind the order of nature, as in the patterns that govern the rippling of water or the growth of trees.
Joshua Liebowitz’s practice examines the relationship between technology and society, producing objects that combine virtual media and physical materials. His practice is built on an assertion that the underlying mechanisms driving public policy and cultural production can no longer be perceived – let alone analyzed, indexed or contributed to – without at the same time acknowledging the effects of increasingly digitized space, data and cognition as capital, and the alteration of Earth systems on individuals and communities. Liebowitz takes a tactical approach: viewing computation, new materials and digital fabrication processes not just as tools and mediums of aesthetic concern but as socially-bound forms unto themselves, he engages these procedures critically, developing objects that mediate the connections between the online and the physical.
Bryan Martello’s images seek to reconcile gay identity, reflecting on sexuality and class. As gay identity becomes more normalized, Martello rethinks the way gay people are seen as virtuous in connection with wealth. His work deals with how to constitute this outside of a luxurious exquisite tool box by working with cheap supplies, from the dollar or thrift store, exchanging quality for quantity as a means to mask emptiness. There is an intervention by which the use of modest materials represents shame or break shame, evoking a playful abjection and a fabulous, rough loneliness. The images amass into an archive of materials in flux. Martello makes pictures of queer objects and bodies; forms that are constantly shifting.
Amaia Marzabal's work inquires into the role of female artists along history, which is often regarded for its functional creation process, without being delineated as art or craft. Many of these works have helped at the same time to redefine and recontextualize new ways of creating, and generating new narratives, concepts, in spite of being out of the circles of the world art. Marzabal's project is at once motivated by a desire to recover craft as a means of creation, not just of femininity, and an investigation of Basque craft and identity in a global frame.
Caroline Phillips deploys minimal forms, handmade processes of making, and the intensity of repetition to explore contemporary feminist aesthetics. Her spatial installations and sculptures reconfigure relationships of power, sexual politics and embodied experience to (re)present the relational art object as a feminist object. Her most recent solo show Materialising Feminism at Margaret Lawrence Gallery, Melbourne (2016) examined the minimalist object as a feminist, relational device. Her new body of work under development at NARS will revisit ‘central core imagery’ through abstraction as a critical metaphor for feminist practice.
Kara Springer's practice is particularly concerned with armature – the underlying structure that holds the flesh of a body in place. She uses photography, sculpture, and site-specific interventions to think about precarity and brokenness within these systems of structural support through engagement with architecture, urban infrastructure, and systems of institutional and political power.
Rachel Garber Cole’s film and performance work are concerned with the flora of anxieties that roil around in our psyche, externalizing the intimacy of interior life in order to create new, fantastical, and surreal worlds. These worlds are highly theatrical, and employ a homemade aesthetic. Although she works primarily within the digital, Cole constantly reminds us of the tactile and the analogue: the physical process of creating images. She creates characters using papier-mâché, backgrounds out of construction paper, and shoots makeup and costuming in ways that allow the normally invisible materials of these masks to become visible, allowing us to see what has been built in an effort to paradoxically strip artifice away to get to the visceral.
Janna Dyk’s practice is a confluence of art-making, curating, and writing, informed by play, rhymes and riddles, conversations, mathematics, linguistics, and the concerns of poetry, experimental psychology, and photographic theory concerning perception and truth. Through drawing, photography, cross-stitch, writing, installation, and video, her work poetically navigates how we strain meanings through the matter of experiences.
Jackie Feng is a painter who draws upon her personal experiences to depict vibrant and colorful narratives that are tethered to no identifiable place or time but instead are suggestive and psychologically charged. Themes of intimacy, ambition, the sublime in nature and the tragicomedy of humanity run throughout her work.
There is an unseen logic behind the random assemblages in the abstract paintings of Bas Geerts, a structure that governs the intertwining and reflecting forms that populate each painting’s surface. To create these works, Geerts begins not with a brush, but by writing a computer program. The program he creates then produces designs, randomizing the size and shape of geometric forms. He paints the computerized results in layers of metal leaf, pure pigments, and acrylic paint. Though random by design, the pieces call to mind the order of nature, as in the patterns that govern the rippling of water or the growth of trees.
Joshua Liebowitz’s practice examines the relationship between technology and society, producing objects that combine virtual media and physical materials. His practice is built on an assertion that the underlying mechanisms driving public policy and cultural production can no longer be perceived – let alone analyzed, indexed or contributed to – without at the same time acknowledging the effects of increasingly digitized space, data and cognition as capital, and the alteration of Earth systems on individuals and communities. Liebowitz takes a tactical approach: viewing computation, new materials and digital fabrication processes not just as tools and mediums of aesthetic concern but as socially-bound forms unto themselves, he engages these procedures critically, developing objects that mediate the connections between the online and the physical.
Bryan Martello’s images seek to reconcile gay identity, reflecting on sexuality and class. As gay identity becomes more normalized, Martello rethinks the way gay people are seen as virtuous in connection with wealth. His work deals with how to constitute this outside of a luxurious exquisite tool box by working with cheap supplies, from the dollar or thrift store, exchanging quality for quantity as a means to mask emptiness. There is an intervention by which the use of modest materials represents shame or break shame, evoking a playful abjection and a fabulous, rough loneliness. The images amass into an archive of materials in flux. Martello makes pictures of queer objects and bodies; forms that are constantly shifting.
Amaia Marzabal's work inquires into the role of female artists along history, which is often regarded for its functional creation process, without being delineated as art or craft. Many of these works have helped at the same time to redefine and recontextualize new ways of creating, and generating new narratives, concepts, in spite of being out of the circles of the world art. Marzabal's project is at once motivated by a desire to recover craft as a means of creation, not just of femininity, and an investigation of Basque craft and identity in a global frame.
Caroline Phillips deploys minimal forms, handmade processes of making, and the intensity of repetition to explore contemporary feminist aesthetics. Her spatial installations and sculptures reconfigure relationships of power, sexual politics and embodied experience to (re)present the relational art object as a feminist object. Her most recent solo show Materialising Feminism at Margaret Lawrence Gallery, Melbourne (2016) examined the minimalist object as a feminist, relational device. Her new body of work under development at NARS will revisit ‘central core imagery’ through abstraction as a critical metaphor for feminist practice.
Kara Springer's practice is particularly concerned with armature – the underlying structure that holds the flesh of a body in place. She uses photography, sculpture, and site-specific interventions to think about precarity and brokenness within these systems of structural support through engagement with architecture, urban infrastructure, and systems of institutional and political power.
