Curated Exhibitions

Below is a selection of exhibitions that I have curated over the last decade. These exhibitions take place in galleries and non-profit organizations. Organizing these exhibitions expands the network of artist whom I work with.

 
 
Future Past Perfect at Project722, New York, NY

Future Past Perfect at Project722, New York, NY

Future Past Perfect | nYC & L.A.

MICHAEL AMBRON, MARY JONES, RACHEL KLINGHOFFER, JOHN O'CONNOR, BAYNE PETERSON

This exhibition that was shown in two parts, the first in New York City and the second in Los Angeles. The Future Past Perfect indicates that an action will have been completed at some point in the future and simultaneously acknowledges that the action has already taken place. Future actions and forms are recontexualized versions of the past.

 
Painting by Virginia Wagner

Painting by Virginia Wagner

COSMOLogY FOUND | SALON IV

TYLER GONLAG | RACHEL GROBSTEIN | VIRGINIA WAGNER

The hidden geometry behind events as common as a dripping faucet or a moving cloud is what the new mentality of chaos dynamics brings forth. For us moderns, it is this edge between chaos and order that is most fascinating, and we search for just the right spot where a momentary stability can provide...

 
Photography by tasisto

Photography by tasisto

to seize your silence: Portraying Saudade

TASISTO | SOLO EXHIBITION | PRESENTED BY POINTB

How does one translate a word that doesn’t exist in English? How is one able to depict a mood through visual language? Described as ‘the love that remains’, the Portuguese word saudade refers to a specific elusive melancholic feeling, an incompleteness or profound longing for something absent.

 
 

Future Past Perfect

New York: Nov. 7th – Dec. 13th, 2015

Los Angeles: 

The Future Past Perfect indicates that an action will have been completed at some point in the future and simultaneously acknowledges that the action has already taken place. Future actions and forms are recontexualized versions of the past.
 
These artists are tied together by their interest in exploring the historical progression of totemic forms and seek out the invention of new forms for the future. In Philip K. Dick’s novel “The Man in the High Castle” handmade clay pots become the most valuable relics of a paranoid, fractured culture; a way people could hold on to a trace of their remembered humanity. The artists in Future Past Perfect are similarly invested in the evocation of the earliest signifiers of our human imagination. It is through these hand-created images and objects that we haptically connect, and communicate an empathetic moment through space and time.
 
As our own technologically driven age becomes one of increasing environmental pressure and cultural fragmentation, volumes of cultural works describing the end of our species have been created, suggesting an apocalypse that is played out with endless variety and circumstances. Clearly, this is something we can imagine. The insistence on materiality and the presence of physical form in these artists' work suggests a post-apocalyptic present. The metaphor of the artifact that these artists use can range from digital fabrication to ancient cave painting, haiku to personal artifacts; all reflect an unsentimental awareness of our circumstances, and consider the basic elements of what might and could be essential. 
Michael Ambron endures varied states of consciousness through his practice of painting; moving away from language and recognition/identification towards the outer margins of sensory perception. He uses the activity of painting to create a distance from the normative modes of engaging with reality, thereby offering the opportunity to experience rich and unusual altered states within his works.

 
 

Mary Jones' paintings find fragments of human form at the edge of recognition within an abstract process. Eschewing overt figuration, she makes reference to ancient, imaginary sculpture through a layered and intuitive approach. This fragmentation organizes the paintings as a gestalt, intended to evoke a connection with the earliest signifiers of our human imagination.  
 
Rachel Klinghoffer explores an unconventional painting practice that engages with a laborious process of making and collecting. She incorporates personal items that range from lingerie to Hanukkah decorations. These articles evoke her personal connection to femininity, Judaism, romance, and other notions of painting - her works have become specimens, icons, and relics that are poked, prodded, stroked, rubbed, then pulled, torn, and broken apart. 
 
John O' Connor looks for patterns in the material present in everyday life. His most recent work involves ideas of political and social recurrence - the ways in which class structures are repeated across generations. O'Connor's work investigates the ways in which information about human behavior is quantified and displayed, as a way to give specific form to the seemingly unexplainable actions people undergo. 
 
Bayne Peterson's work is research-based and process-driven, drawing on a variety of narrative, historical moments, aesthetics and ephemera. He explores iterative series that take the form of multiple artifacts presented for study as either scale-shifted representations of the banal or updated modernist gestures. Using 3-D modeling tools within his process, Peterson investigates the limitations and failure of technology to articulate sculptural form.

 
 

COSMOLGY FOUND | Salon IV

TYLER GONLAG | RACHEL GROBSTEIN | VIRGINIA WAGNER

The hidden geometry behind events as common as a dripping faucet or a moving cloud is what the new mentality of chaos dynamics brings forth. For us moderns, it is this edge between chaos and order that is most fascinating, and we search for just the right spot where a momentary stability can provide us with the apparent ground that allows us to surf-ride the turbulent wave to our personal goal; but as we stand suspended on that translucent ground, we are given a moment to see into the ground, we are given a moment to see into the groundlessness of all seemingly solid waves, from the solar system to the circulation of the foam on the earth’s magma that we foolishly call tectonic plates. Excerpt from Imaginary Landscape by William Irwin Thompson

 What ties these artists together is their interest in universal reflexivity expressed in the everyday. Their investigation in reflexivity ranges from body to landscape to inanimate object. These relationships are cyclical and infinitely expanding, incorporating new items into its oeuvre. Reflexivity acknowledges that there is a continued exchange that oscillates between various proposed identifications and between cause and effect. Our world is occupied by impressions, shadows and reflections that when brought together provide a more convincing reality.

It is important to remember that analogous structures and patterns exist in all aspects of life. This scope is expressed and reciprocated in forms of government, development of cities, routines of life, passing time, etc.

An amalgamation of fragmented memory, taxonomy of life’s accumulation, the fabrication of future landscapes.

TYLER GONLAG

Artist Statement

"...my most recent project employs a variety of narratives within the central context of a 'coming-of-age' story. these narratives utilize musical, intuitive and emotive threads in order to enact an experience; in this case, a kind of vignette/collage of people engaged in addict culture. the story takes place in California, and the landscape is very important to these poems. in some cases, features of the landscape become characters themselves, a consequence of the strangeness and familiarity of being stuck in a physical, mental or spiritual space. the stark realism becomes a kind of crack in the dam, allowing surreality to slowly supplant the experience of the speaker. the poems employ a strict economy of language in their examination of excess, a necessary paradox - there is a prevalent anxiety, here, that if a granule of control is lost, then all is lost. many of the poems are elegies, and I think a central question this manuscript asks is, "where do we bury our dead?" the people, the places, or vestigial parts of ourselves that we let go (or continue to hold on to, despite knowing or wanting better)..."

RACHEL GROBSTEIN

Artist Statement

All my work begins with the collection and cataloguing of images, mostly objects making up day-to-day life. Many of these objects involve maintenance, storage, waste disposal, food and marking time. My labor-intensive process of miniature painting is in service of creating intimacy and slowing down the act of looking. In my cut paper work, I install paintings directly into walls with pins, creating structures straddling 2D and 3D. When the paintings are suspended in a kind of limbo they make the perspective with which they are viewed important, creating tension around flatness and a subtle architecture of shadows. The paintings are also floating in space on some level, playfully evoking a kind of suspended animation and referencing specimens.  

VIRGINIA WAGNER

Artist Statement

My work is focused on the conflict between human progress and the natural world. It looks at the impact of a changing climate on human systems as well as our impact on ecosystems. The battleground where nature and technology clash is often a landscape, but it can also be the human figure, as we invite new forms of augmentation and preservation. In addition to documenting the conflicts of our time, I am interested in what can be built from them. In describing our changing world, I draw on the strong bone-structures of myths and archetypes that have helped many generations make sense of their own.

The figures in my recent paintings are encased in glass. The work harkens back to the Snow White tale while looking forward to our increasing dependency on technology to preserve us. I am interested in how science is our generation’s Elixir of Life. The screen has become our dominant lens. The figures behind glass are both a part of their environment and separate from it. Animated and static.

“Our fairy tales also have their roots in this prehistoric darkness, and the hidden geometry that survives in them is not simply the obvious stuff of phallic symbols and devouring maws but a lost cosmology of correspondences that connect the flowers to the stars.” – William Irwin Thompson``

 
 
 

to seize your silence: Portraying Saudade

tasito | Solo Exhibition | Presented by PointB

PointB presents … to seize your silence: Portraying Saudade; the first solo exhibition of artist and musician Patricio Tasisto in New York City.

How does one translate a word that doesn’t exist in English? How is one able to depict a mood through visual language? Described as ‘the love that remains’, the Portuguese word saudade refers to a specific elusive melancholic feeling, an incompleteness or profound longing for something absent.

The works included in the exhibition … to seize your silence: Portraying Saudade, are created in response to the deep void felt by the artist after the loss of his own mother at an early age. Tasisto states: “She became a wordless presence for me, an omnipresent silence as I grew up. Due to the impossibility to restrain this quest for her lovingness, I sublimated it, in the pursuit of an idealised love that could not be experienced by myself and only be given.”

Patricio Tasisto is the son of a metaphysical painter Ideal Sanchez, active in the 1940’s who introduced him to the world of visual art. An autodidact, Tasisto began working with photography at the age of thirteen. He is trained as a classical musician, obtaining university degrees in Choir Conducting, Violin and Viola da Gamba in Argentina, Italy and Switzerland. Following his studies, Tasisto began to work as an Early Music performer and sound designer in Avant-garde Theatre and Dance performances.

His experience working with sound led him to incorporate visual and written language into his work. Tasisto has lived and worked in Milan, London, Tokyo, New York City and currently resides in Paris.