Holly Crawford
Since 2005
Works in United Kingdom of Great Britain and Northern Ireland

Holly Crawford is cross media artist, behavioral scientist, economist and art historian. She received her Ph.D. from the University of Essex in Art History and Theory, B.A and M.A. in Economics and M.S. in Behavioral Science from UCLA. From 2004-2006, she was a non-clinical Fellow at NYU Medical School Psychoanalytic Center. Her art and poetry (www.art-poetry.info) give new meanings and draws categories themselves into question through transformative juxtapositions. Her projects include: Offerings (Ars Electronica, (.net Participant); Open Adoption, The Road, Hyphens, Voice Over, Found Punctuation (video) Tate Modern 2007, My I have your autograph? (unofficial, Basel Miami Art Fair 2007), Critical Conversations in a Limo, NY 2006 (VIP project, Armory), 2007 in Melbourne (MIAF) & San Francisco (The LAB & Sesnon Gallery UCSC), Sound Art Limo, NY and Melbourne 2007, Flatland Limo, NYC 2008. Many projects are ongoing, site specific and participatory. Publications: Artistic Bedfellows, ed., 2008, Attached to the Mouse, 2006 and catalogue essay, “Disney and Pop” in Once Upon a Time Walt Disney Studio; Artistic Bedfellows, edited, 2008. Some projects are created and curated through AC (Art Currents) which she created and directs, www.artcurrents.org She taught art at UCLA and SVA. She was born in California and now lives in New York City.
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Sebastian Mahaluf: Gravity, inversion of the matter

Thu Jun 30, 2011 18:00 - Sat Jul 30, 2011

New York, New York
United States of America

An AC Institute Curated Exhibition
June 30 – July 30, 2011
Opening Event: Thursday, June 30, 2011 6-8pm

Contact: info@artcurrents.org

Sebastian Mahaluf: Gravity, inversion of the matter
Sebastian Mahaluf reflects on the relationships between societies and the world, between objects and space. In this way, he finds a treatment to approach all things that surround him: geometry and its relationship to his body and objects.

Geometry is the main object of research in Mahaluf’s artistic production. This research is divided in two lines of work. The first one refers to the analysis of shapes in order to highlight specific features of the exhibition space. The second one is the study of the body understood as a performance tool. In both elements, the artist looks to focus his work on simple or pure geometry, to demonstrate in the experience the ephemeral objectivity of artistic production.

The object of the installation, Gravity, inversion of the matter, is to construct from silver elastic rubber bands hanging from the ceiling beams, triangles that in their totality constitute an inverted volumetric structure. The beams of the room of exhibition will transform into the support and foundation of the work.

Through the art installation, where the geometric construction is used to understand the concrete and the real, the concepts of reality and fiction have been significant.

This construction is understood as an inverted architectural element, like our capitalist social structure, and understood as a space of protection which is vulnerable at the thought of the possibility of its non-existence or in the complete loss of all in the vertigo that implies the inversion of the matter. In Gravity, inversion of the matter, the idea of protection is altered and subjected and put under another reality.

Sebastian Mahaluf (1976) lives and works in Santiago de Chile. He is an artist and professor in visual arts, Master of Visual Arts Degree © from University of Chile. Mahaluf’s work has been exhibited since 1998: at the Bronx Latin American Art Biennale, Bronx Museum of The Arts, New York (2010); Space Made Live, Glasgow, Scotland (2010); 798 Beijing Biennale, Beijing, China (2009); 10th International Festival of Performance Open, Beijing, China (2009); Platform China, Beijing, China (2009), Die Ecke Gallery, Santiago, Chile (2008); Museum of Contemporary Art, Santiago de Chile (2008); National Museum of Arts, Santiago de Chile (2007), among others. His work is in public and private collections and he has received awards and honors in recognition of his cultural achievements from the Chilean Ministry of Education and other organizations. Most recently, Mahaluf`s work has been selected by The World Bank Art Program “The Change”.


The AC Institute Presents Four New Exhibitions

Thu May 12, 2011 12:00 - Sat Jun 18, 2011

Works by Joseph Farbrook, Michael Georgetti, Jonathon Keats and the Kit Collaboration with Robert Suacier.
Opening Reception May 12, 2011 from 6 - 8PM

- by Jonathon Keats
five millennia of history, and a plethora of religious and civil ceremonies,
marriage is a popular means of producing families. Yet matrimony isn't the only
method of uniting people, nor even is it the most effective technique. Modern
science suggests a far more profound alternative, one that does not operate by
religious tradition or civil mandate, but rather bonds couples by a law of
nature: quantum entanglement.
to quantum mechanics, when two or more particles are entangled, they behave as
if they were one and the same. Any change to one instantaneously and
identically changes those entangled with it even if they're a universe apart.
While the phenomenon has been applied to fields such as military encryption,
Jonathon Keats has put entanglement to work for the more worthy purpose of
fostering human relations.
technology is straightforward: Exposed to solar radiation, a nonlinear crystal
entangles photons. Pairs of entangled photons are divided by prisms. The
photoelectric effect translates their entangled state to the bodies of a couple
who wish to be united, entangling them in a quantum wedding.
are no restrictions on who may be entangled to whom. The process is
unsupervised. No records are kept. Even those who get entangled will have to
take their entanglement on faith, as any attempt to measure a quantum system
disentangles it: A quantum marriage will literally be broken up by skepticism
about it.
potential of quantum marriage will be fulfilled by those who choose to engage
it. After five thousand years of manmade laws, often exclusionary or punitive,
science promises to liberate marriage through technology freely offering
entanglement to everybody.
by Joseph Farbrook
Scantly a generation ago, moving image screens were
restricted to television and cinema and the content was nearly exclusively
generated by corporations and conglomerates that dictated the form and
aesthetic of what should and should not be seen by the masses.   The content was restricted almost entirely
to news and entertainment and limited in scope to what could be sold as a
Presently, technological advances have given moving image
screens an explosion of new forms and possibilities of content.   Adding up the hours we spend staring into
screens, it could be argued that we are seeing an ever-greater part of our
lives mediated by this device.   Virtual
Reality has quietly emerged on this side of the screen and embedded itself into
our psyches.  The collective imagination
is to an ever-greater extent being co-opted and aligning itself to the
operational workings of this new prosthetic.  
It is now a critical time for artists to temper this overwhelming
involvement and offer insights into this reality, complete with new paradigms
of perception, new ways of seeing into, and through, the ubiquitous
“Strata-Caster” is an installation that explores the
topography of power, prestige, and position.  
It exists in the virtual world of Second Life, a place populated by
approximately 50,000 people at any given moment. Although virtual and infinite,
it continues to mirror the physical world, complete with representations of
prestige and exclusivity. Even without the limitations of the physical, why are
borders and separation still prized so highly? 
Entry into this installation is by wheelchair, an unfamiliar interface
to the limitless expanse of virtual space, but one that continuously calls
attention to limitation and position.

– by Michael Georgetti
Materials used: Paraffin wax, ply wood, industrial
pine, halogen light, tape, elastic cord, glitter, plastic toy soldiers,
floating devices, rope, paint strippers, hair dryers, indoor heaters,
fluorescent light and skipping rope, dimensions variable, 2011
make installations and sculptures that usually move or fall apart. Using a
combination of painting, kinetics and found objects these structures are made
with an emphasis on poetics, play and deconstruction in order to create
precarious relationships between ephemeral sculpture and the everyday world.
sculptures often collapse to imitate the way things don’t work or inevitably
fall apart. Engine parts and electric machines are dismantled and
re-coordinated to create relationships between inanimate objects and social
constructions are often dysfunctional and usually border on being precarious.
their making, tape, rope, elastic cord and cling-wrap are used as bandages and
stabilizing devices. In this sense, a relationship between repairing and
constructing occurs where these works become provisional. Often they appear
anthropomorphic because they manifest from ideas that have personalities.
broad range of commercial and industrial materials are deployed in these
structures: bathtubs, tennis balls, arrows, electric toy cars, paint, cement,
hockey sticks, pool cues, crack pipes, wax, yoga mats, garment steamers, hair
dryers, alcohol, water and portable swimming pools.
materials are chosen for the way they can mimic human behavior and expose the
materiality of the world we construct around us.
In a
gallery context I set up scenarios that have a short-durational quality in
order to create readings of the way people deal with impermanence. But often
these ideas manifest in a slapstick and humorous way to generate experiences of
absurdity and the imperfect nature of human behavior.
description of artist practice:
Through painting, sculpture, installation and film,
Georgetti explores the duality of behaviour and technology; the way thoughts
and feelings manifest within the mechanical and constructed environments we
create around us.

Virutorium – by
the Kit Collaboration and Robert Saucier
Virutorium is
the second joint project by The Kit Collaboration + Robert Saucier. Their first
project named Infrasense was a
large-scale sound installation that toured 11 galleries in Canada, UK, USA and
Belgium between 2004 to 2006 and dealt with the cultural economy of paranoia
surrounding the word ‘virus’ in its biological (sexual), computational (coding)
and capital (marketing) forms. Virutorium
is an interactive robotic sound installation, a kinetic and aural work that
advances themes originated in the Infrasense
project. This new project explores the extensive and pervasive cultural
dynamics of the ‘virus’ and seeks to highlight how far viral systems and models
are influencing bodily and computer based communication systems, modes of
capitalism and socio-sexual relations, ultimately contemplating how we
construct cultural memories about transient entities that we consider
detrimental to our livelihoods.


Call for Submissions

Sat Apr 30, 2011 00:00

Call for Proposals:
Ideas of time, temporality and being over the course of the
past century have challenged  not
only our conception of past, present and future but also the idea of  that time is necessarily a measured
linear construct that always moves forward. Expanding on  Heidegger’s distinction between time
and the temporal, thinkers and
practitioners across creative disciplines have sought to present ideas of time
that can be static, multi-directional, non-linear, existing only in memory,
boundless, and flexible.
For our 2011-2012 exhibition season, the AC Institute
invites submissions of video, installations, sound art, text works and
temporary/ephemeral pieces that allow time to be presented in ways that
challenge our conventional notions of time. Several solo and group exhibitions
will be presented between September 2011 and July 2012 using works from this
call exclusively.
Submissions should be sent
to submissions@artcurrents.org by April 30, 2011. Please include the following in
the body of your message.

-A short description
and images of the work you are proposing for our spaces

-A short CV and
contact information

-Links to your
website or other sites where materials could be viewed, if possible
If these materials
must be sent as attachments please send PDFs. Attachments other than PDF will
not be opened.

About AC Institute:

The AC Institute exists to advance art through investigation, research and
practice. It is a lab for experimentation and a forum for critical discussion.
Emphasizing emerging, international, and under-represented artists, the
Institute develops projects across disciplines, exhibiting work deploying a
variety of strategies for critical, experiential, and performative interventions
in the field of contemporary art. In addition to publishing critical writing
that pushes conventional expectations of meaning and objectivity, the AC
Institute realizes off-site projects taking place at the edge of the art
marketplace. Committed to an integrated vision of creative practice, Art
Currents creates autonomous spaces to pursue experimental work. The AC
institute is non-profit 501(c)3 under the Direction of Holly Crawford.
Since moving to
Chelsea in September of 2008, AC has mounted numerous exhibitions and
performances, participated in the 2009 Armory show with Critical Conversations
in a Limo; collaborated with over 50 artists; and worked with various cultural
organizations including Rhizome and Harvestworks to pursue its mission. We
provide space, programming support, and certain A/V equipment. Please see our
website for more information: www.artcurrents.org.


AC Institute presents ALTERNATE CURRENTS, the new Experimental Music Program

Thu Mar 31, 2011 19:00 - Thu Mar 31, 2011

New York, New York
United States of America

AC Institute presents ALTERNATE CURRENTS, the new
Experimental Music Program
Curated by Hans Tammen
Thursday , March 31 at  7 PM
Admission: $20
AC-Institute is proud to present virtuoso flutist ROBERT DICK as part of its
new Experimental Music series ALTERNATE CURRENTS. With equally deep roots in
classical music old and new and in free improvisation and new jazz, Robert Dick
has established himself as an artist who has not only mastered the flute, he
has redefined it and its music. Diverse global audiences have likened his
uncanny solo performances to “the experience of hearing a full orchestra.”
Dick’s sound can be thick chords one instant, then
chromatic percussion, then delicate whispering filigrees, then a display of
surprising power.  His performance includes flute (with his invention, the
Glissando Headjoint®), piccolo, alto flute, and bass flutes in C and F, and the
giant, stand-up contrabass flute.
The program includes original compositions for
flutes, selected from Dick’s thirty years of creating music – repertoire ranges
from the now classic Afterlight, to
the science fiction scenario of IF for
amplified bass flute in F, to the performance art combination of poetry and
acting with flute performance of everyone@universe.existence.


Unlikely Savages

Thu Mar 24, 2011 06:00 - Sat Apr 30, 2011

New York, New York
United States of America

presented by Carla Macchiavello, Ph.D. in Art History and Criticism Stony Brook
24-April 30, 2011
Unlikely Savages

presents works by seven artists that question the continuity of
the savage paradigm in relation to Latin America and the ideologies of dominion
and violence that support it. Through a dialogue of related themes (technology,
archives, violence) and mediums (video, installation, text), the exhibition
attempts to put in tension and intertwine a variety of positions regarding the
images of the uncivilized that Latin America still evokes, both from within and
without. Though savagery seems to have changed forms, leaving the colonial
world behind to reemerge as extreme violence often associated in Latin America
with political questions, oppressive regimes, revolutionaries, and more
recently drugs, the term is still deeply enmeshed with battles of dominion and
representation involving many actors. The works in this exhibition address in
either direct or veiled ways some of the convoluted relations between the
so-called first and third worlds, alluding to everyday realities and imaginary
ones through an extended notion of savagery.

The exhibition opens with a wall text by Elkin Calderón, which
introduces the contradictions of being a successful Latin American artist
dealing with themes such as violence, as in the case of the renown Colombian
artist Doris Salcedo. Through a first person narration, badly translated and
copied, Calderón plays with stereotypes regarding artistic civilized behavior.
The work enters in dialogue with the video installation by Manuela Viera-Gallo
(Chile, 1975), who posits the existence of a third world in every first world
through shards and glimpses of savage behavior. In works like “Undercover”,
ceramic black crows watch through white sacks the gallery’s visitors,
establishing an ambience of suspicion regarding others. Violence reemerges in two
video works of Alejandro Moreno (Chile), which re-conceptualize aggressive
ritual and its connection to Western fantasy and gender identity through hybrid
myths and the crude violence of sexual stereotypes (“La Chata”). Imaginary
violence is also evoked in a double video projection by Diego Lama (Peru, 1980),
where oneiric images organized in chapters explore the architecture of power influencing
the construction of a savage Latin America. This dream-like quality is
countered by the documentary works of Wilson Díaz (Colombia) that delve on the
entangled ways in which tradition, popular culture, violence, and warfare
continually displace notions of primitive and civilized behaviors. In his
drawings with a type of pencil made out of coke leaves and video “Rebeldes del
sur”, nature, resources, music, and war are joined to question the roles of
those involved in the drug conflict. The relationship between the primitive,
violence, and otherness has been central to the revisions of the archive as a
system of knowledge and the reproduction of power relations in the works of
Ernesto Salmerón (Nicaragua, 1977). Opening up the limits of knowledge neatly
classified in the archive, Salmerón brings disparate sources of external
visions concerning the Americas and some of its most complicated agents in the
video “El Danto”. In between clips, projections, and images coming from
archival interviews with the son of guerrilla leaders from Nicaragua and U.S.
supported propaganda material, a different picture of the Americas may be
glimpsed. The exhibition closes with a video and text installation by Andrés
Burbano (Colombia) in which the artist’s own expectations regarding his home
country uncivilized others clash full front with the native’s realities. Coming
full circle and joining Calderón’s initial text through its reference to language
and translation, Burbano’s installation leaves an open question regarding the
present and future relations between technology, power, minorities, and
dominant cultures in an interconnected world.
List of artists
Andrés Burbano
Elkin Calderón
Wilson Díaz
Diego Lama
Alejandro Moreno
Ernesto Salmerón
Viera-Gallo (Chile)