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EXIT HISTORY:
The Second Coming
12/16/2006 - 1/27/2007
Curator(s): Papo Colo and Jeanette Ingberman
Artists: Peter Caine
Exhibition: Continuing the tradition of presenting holiday window displays, Exit Art invited Peter Caine to produce his provocative animatronic installation work. By transforming found objects into quirky and kinetic sculptures, Caine creates a winter wonderland full of subversive sociopolitical underpinnings. Simultaneously spectacular and unsettling, the holiday inspired installations are viewable twenty-four hours a day in Exit Art’s 10th Avenue and 36th Street windows.
Caine is widely known for his animated, life-sized interpretations of cartoon characters, historical figures and contemporary celebrities alike, which frequently balance on the fine line between eccentric and insane. He skillfully combines bright lights, sound and motion to evoke an almost carnival-like atmosphere, which provides a unique contrast to the undercurrent of political, racial and social concerns frequently addressed within his work.
Peter Caine was listed in Artforum's Best of 2004, and contributed work to PS1's Greater New York exhibition in 2005. According to Holland Cotter, of the New York Times, Caine's work is, "beyond irreverent… the visual version of a moral tantrum, abrupt, loud and apparently spontaneous."
Renegades
12/16/2006 - 2/3/2007
Curator(s): Papo Colo and Jeanette Ingberman
Artists: Lynda Abraham, Vito Acconci, Skip Arnold, Ron Athey, Brandon Ballengée, Sue de Beer, Deborah Edmeades, Geoffrey Hendricks, David Henry Brown Jr., Patty Chang, Quentin Conybeare, Kirby Dick, Jimmie Durham, Deborah Edmeades, Rachel Feintsein, First World/ El Primer Mundo, Bob Flanagan, Sherman Fleming, Matthew Flower, Regina Frank, Marisa Gallo, Gilbert and George, Good Treatment of Horses, Gavin Grace, Erik Guzman, Paula Hayes, Kate Howard, Kim Jones, Courtney Kessel, David Krepfle, Julieta L.A., Joseph Lau, David Linton, Suzan-Lori Parks, Marianna, Gordon Matta-Clark, Paul McCarthy, Dominic McGill, Linda Montano, Bruce Nauman, Yasira Nun, Dennis Oppenheim, Orlan, Jun Ozaki, Adam Putnam, Reno, Sheree Rose, Amy Shapiro, Carolee Schneemann, Bonnie Sherk, Barbara Smith, Elizabeth Streb, Javier Tellez, Trickster Theater, Liz Young, Alfredo Zandieh.
Exhibition: Renegades is a history of performance that was produced or presented at Exit Art over its 25-year history. Through documentation from the archives including video, photographs, slides, ephemera and other archival materials, this exhibition examines Exit Art’s seminal place in the history of performance. In 2007-2008 Exit Art will celebrate its 25th Anniversary. This silver anniversary will be commemorated during the year through new programming initiatives and other special events to include an exciting series of exhibitions that explore Exit Art’s rich and diverse history. The first exhibition, RENEGADES, highlights our history of fostering and presenting performance art in New York City. Drawn directly from our archive, this exhibition offers the opportunity to revisit a number of historically important performances as well as exhibitions that explored the contemporary history of performance art.
The Building Show
2/17/2007 - 3/31/2007
Curator(s): Papo Colo and Jeanette Ingberman
Artists: Scott Andresen, Kenneth Grady Barker, Joseph Burwell, Nuno Cera, Jerstin Crosby and Lump Lipshitz, John Enxuto, Peter Eudenbach, Barbara Gallucci, Elaine Gan, Patty Harris, Peter Hildebrand, Heidrun Holzfeind, Emily Katrencik, Noah Loesberg, Naeem Mohaiemen with Gensler + Gutierrez, Heidi Neilson, Quintin Rivera Toro, Chuck Sehman, Caridad Sola and Mary Mihelic, Tim Spelios, Mona Vatamanu and Florin Tudor, Glen Walls, Seth Weiner, Marion E. Wilson, Xing Danwen, Yarisal & Kublitz
Exhibition: Buildings have become iconic figures of cities and countries; these architectural wonders are either loved or despised by their neighbors, visitors and passersby. Oftentimes buildings have deeply rooted historical significance, they form skylines that are embedded into our vertical memory and hold infinite stories within their walls. Other times buildings are surrounded by controversy, neighborhoods are rezoned, gentrification causes displacement and old buildings are torn down and quickly rebuilt for new uses. In homage to these vertical symbols Exit Art presents The Building Show, an exhibition featuring twenty-six conceptual, realistic, personal, intimate and analytical artworks that are defined by artists’ personal relationships to existing structures.
Killing Time
5/12/2007-8/28/2007
Curators: Elvis Fuentes, Yuneikys Villalonga, and Glexis Novoa
Artists: Francis Acea, Pavel Acosta, Jairo Alfonso, All Stars Team, José Luis
Alonso Mateo, Alexandre Arrechea, Arte Calle, Magdiel Aspillaga, Juan
Pablo Ballester, James Bonachea, Ricardo Brey, Saidel Brito, Tania
Bruguera, La Campana Group, María Magdalena Campos Pons, Iván Capote,
Yoan Capote, Consuelo Castañeda, Nilo Castillo, Sandra Ceballos &
Espacio Aglutinador, Raúl Cordero, Arturo Cuenca, Ángel Delgado, Felipe
Dulzaides, El Soca & Fabian, Enema Collective, Henry Eric, Antonio
Eligio Fernández “Tonel”, José A. Figueroa, Coco Fusco, Carlos
Garaicoa, Fernando García, Pavel Giroud, Alejandro González, María
Elena González, Juan-si González, Abdel Hernández, Hexágono Group, Tony
Labat, Francisco Lastra, Glenda León, Alejandro López, Rafael López
Ramos, Janler Méndez, Manuel Mendive, Beverly Mojena, Maritza Molina,
Glexis Novoa, Antonio Núñez, Ernesto Oroza, Cristina Padura, Alain
Pino, Humberto Planas, Segundo Planes, Provisional Group, Aldo Damián
Menéndez, Ernesto Pujol, Rigoberto Quintana, Ritual Art-De Group,
Rubert Quintana, Fernando Rodríguez & Francisco de la Cal, René
Francisco Rodríguez, Carlos Rodríguez Cárdenas, Joel Rojas, Yali
Romagoza, Lázaro Saavedra, Leandro Soto, Ezequiel Suárez, T&T, José
Ángel Toirac, César Trasobares, Hárold Vazquez, Aaron Vega Granados,
Liudmila Velasco & Nelson Ramírez de Arellano, José Ángel Vincench,
Ramón Williams.
Exhibition: Killing Time
focuses on the work of over seventy contemporary Cuban artists that
have approached the subject of time. “The Revolution has been a
symbolic intervention on Cuban Time. In return, time has shaped
discourses of and on the Cuban Revolution,” said curators. Time
patterns: Rewriting History, Productive Journey vs. Free Time: From
Diversion to Subversion, and Aging and Decaying: An Archaeology of
Utopia, are some of many subjects explored in different media,
including performances, installations, photographs, videos, drawings,
paintings, sculpture, murals, prints and ephemera. This exhibition
spans from the late 1970s to the present, and provides a timely context for
Cuban artists whose work has had little or no exposure in the United
States. Many of these artists have metaphorically recorded some of the
tensions in the cultural, social and political landscape of the past
three decades, and have often been dismissed by the official discourse
on the Island or stereotyped by narrow conceptions of identity. A
special section of the exhibition features the origins of Performance
and Conceptual art in Cuba, through original works and documentation
materials never before shown in the United States.
SULTANA’S DREAM
August 4-31, 2007
Curator(s): Jaishri Abichandani
Artists: Samira Abbassy, Jaishri Abichandani, Fariba Alam, Mouna Andraos, Siona Benjamin, Anjali Bhargava, Anna Bhushan, Mareena Daredia, Sharmila Desai, Chitra Ganesh, Asha Ganpat, Mariam Ghani, Rajkamal Kahlon, Emily Jacir, Mona Kamal, Jesal Kapadia, Sarita Khurana, Swati Khurana, Yamini Nayar, Vicky Moufawad-Paul, Carol Pereira, Sreshta Premnath, Fatima Al Qadiri, Monira Al Qadiri, Sadia Rehman, Prerana Reddy, Ela Shah, Asma Ahmed Shikoh, Shahzia Sikander, Sonali Sridhar, Anahita Vossoughi, 6 + women’s art collective, and SAFED STUDIO.
Exhibition: As the art world celebrates the work of women artists this year, and as SAWCC commemorates their 10th anniversary, this exhibition at Exit Art will contribute to the spectacle in SAWCC’s truly collective fashion. Sultana’s Dream, curated by Jaishri Abichandani, Founder of SAWCC, will feature collaborative works and participatory projects that have been produced through a process of dialogue between at least two South Asian women artists – across disciplines that include: visual artists and writers, dancers, filmmakers, musicians etc. Sultana’s Dream will include the work of established South Asian women artists such as Shahzia Sikander and Chitra Ganesh, as well as emerging or lesser known South Asian women artists selected from an open call for submissions. Including over 30 artists of Bangladeshi, Indian, Pakistani, Nepali, Afghan, Kuawaiti and Iranian descent, Sultana’s Dream showcases the spectrum of South Asian women’s intellectual and aesthetic perspectives.
ELECTRIC LAB
September 20-November 17, 2007
Curator(s): Jeanette Ingberman and Papo Colo
Artists: Jamie Allen, Bruce High Quality Foundation, Kelly Dobson, Aaron S. Davidson, Melissa Dubbin, Arthur Elsenaar, Flash Light, Erik Guzman, LoVid, Jeff Matney, Brendan McGillicuddy, Bryan Mesenbourg, Arnaldo Morales, Marco Roso, Remko Scha, Simon Schiessl, Gregory Shakar, Luke Stettner, Hap Tivey, Seth Weiner, Revel Woodard
Exhibition: Electricity is one of life’s most fundamental forces; it courses through our bodies and powers our computers. Today, the shortage and high cost of electricity is a pressing issue. The rethinking of energy production and consumption is imperative as we face depleted natural resources, environmental damage, and exponential population growth.
Electric Lab is dedicated to experimentation and art-making practices within the ranges of electricity. Artists were asked to suggest new ways to access electricity and explore its power. This exhibition is inspired by and dedicated to the scientist Nicola Tesla, who desired free access of electricity for all.
LOVE/WAR/SEX
12/01/2007 - 01/26/2008
Curator(s): Jeanette Ingberman
and Papo Colo
Artists: Jakob Boeskov, Margot Herster, Tessa Hughes-Freeland, Fawad Khan, Ellen Lake, Rebecca Loyche, Guerra de la Paz, Francesco Simeti, Nick Waplington
Exhibition: Love/War/Sex considered the conflation of those basic human instincts—a toxic combination manifested in images and stories coming out of Iraq. This exhibition connected longing with violence and love with war, imagining the business of war in all its sensual manifestations. The installation of Love/War/Sex, conceived by Papo Colo, was an innovation in exhibition design and presentation, in part for its inclusion of real weapons of war. Choosing these objects, these “readymades”, and applying their historical contexts to the exhibition, created an environment that provoked, surprised, assaulted and confronted the viewer with the real tools of war.
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