Whitebox Art Center
info@whiteboxny.org
Works in New York, New York United States of America

BIO
At the outstart of its fourteenth year, WBX's mission continues to follow the core of its original mandate which is to present broad ranging contemporary art forms by innovative artists and curators whose efforts to exhibit thought-provoking, intellectually and visually challenging art is many times overlooked and, at times, question the more popular, media and market-oriented focus of other New York contemporary arts venues. WBX's purpose sets it apart from other organizations by not exclusively focusing on artists nor is it strictly a curator-based exhibition space. In this capacity, WBX has developed a multi-purpose direction allowing it to examine and present the contemporary arts from within their culturally specific contexts while providing a forum in which, aside from the general public, youth, students and seasoned arts professionals can explore, learn and engage with new ideas. The subsequent exhibitions and other programs arise from today's complex issues and multilayered elements that influence and impact everyone culturally and that are associated to other disciplines such as anthropology, sociology and the politics and transformations resulting from a global consumer marketplace. WBX has become known as a venue in which the general public, students and arts professionals can meet, dialogue and exchange ideas that are socially and culturally transformative. As such, White Box has gained peer recognition for being a welcome haven, one that sponsors and endorses open and flexible approaches while embracing a global focus in the selection of its collaborators, partners, curators and artists.
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EVENT

Coded After Lovelace


Dates:
Thu Aug 14, 2014 18:00 - Tue Sep 02, 2014

Coded After Lovelace

Curated by Faith Holland & Nora O’ Murchú

Exhibition on view August 14th – September 2nd 2014
Opening reception Thursday August 14th | 6-8pm

Carla Gannis | Claudia Hart | Olia Lialina | Jillian Mayer | Rosa Menkman | Arleen Schloss | Lillian F Schwartz

“Artists have always been among the first to reflect on the culture and technology of their time, and decades before the digital revolution had been officially proclaimed, they were experimenting with the digital medium”

- Christian Paul, Digital Art (2003) Thames & Hudson.

New York City – Coded After Lovelace offers a survey of art that critically reflects on the creative use of technology: its developments and limitations. From the room-sized computers of the Bell Labs era to the tablet-based work of today, these seven artists question the boundary between art and technology. Coded After Lovelace creates a new lineage across artists of different generations.

Long before digital art became a popularized form, Lillian Schwartz used the computer as a tool to create abstract prints and films. An early artist-in-residence at Bell Laboratories, her experiments laid the foundation for future generations of digital artists and practitioners.

In contrast, Arleen Schloss drew from her experience as an active member of the Downtown New York scene. An energetic explorer of new media, Schloss’s work examines language (and more specifically, the alphabet) as a technology, which she performs and materializes using laser projections.

A pioneering net artist and theorist, Olia Lialina was early to recognize the World Wide Web’s potential as a medium for artistic experimentation. Informed by her background in filmmaking, Lialina used what was then a novel format, the GIF, to reflect an emerging web vernacular.

The role of the computer in shifting representational values is key to Claudia Hart’s work on identity and virtuality. Her innovative 3D work subverts the typical iconography adopted by the commercial computer graphics industry and defies expectations with its slow-paced, contemplative, and emotional qualities.

Carla Gannis’s Non-Facial Recognition project challenges surveillance softwares through a playful digital manipulation of social media profile images. Remixing photos sent to her by friends and followers, Gannis transforms photographic portraits into digital assemblages that are no longer merely visual data for military-industrial algorithms.

Through experiments with video compression, feedback, and other forms of noise, Rosa Menkman creates works specific to digital media. Beyond the intentional corruption of various file formats, Menkman’s works, constantly in a state of flux, deconstruct culture, politics, and the history of technology to create unique glitched audio-visuals.

Jillian Mayer’s You’ll Be Okay offers comfort to the viewer faced with a myriad of digital anxieties. Whether it be the impending Singularity-the uploading of our material selves into a nebulous digital cloud–or simply too many push notifications, Mayer paradoxically uses digitally generated images to allay the fears associated with that very technology.



Coded After Lovelace concludes with a closing event on September 2nd (7 – 10pm) featuring “Click Click Click,” a screening of contemporary digital video and GIF works that encompass a broad variety of practices and approaches, including artists Lorna Mills, Jennifer Chan, Gaby Cepeda and Adriana Minoliti, Nicole Killian, Giselle Zatonyl, Claudia Maté, Dafna Ganani, Tessa Siddle, Morehshin Allahyari, Eva Papamargariti, Sabrina Ratté, Geraldine Juárez, Claire Evans, and more to be announced.

Press Contact: press@whiteboxny.org


EVENT

NO EXIT: A Project by Khaled Jarrar


Dates:
Thu Jul 24, 2014 17:00 - Thu Aug 07, 2014

Location:
New York, New York
United States of America

Whitebox Art Center presents

NO EXIT
A Project by Khaled Jarrar

Exhibition on view July 24th– August 7th 2014
Opening reception at Whitebox Art Center | July 24th | 5-7pm

New York City - Whitebox Art Center presents a solo show by Palestinian artist Khaled Jarrar, produced and curated by Myriam Vanneschi.

The Israel Border Police denied artist Khaled Jarrar exit to travel to NYC for this project and his participation in the show Here and Elsewhere at the New Museum. He has since decided to create a new work for this show that deals with his status as well as the current situation in Gaza. This new media piece will be live updated as the situation develops.

Khaled Jarrar describes his experience attempting to leave Palestine on July 23rd, 2014:

“Another massacre is taking place in Gaza, and Israel is trying to sell it as a war with Hamas using a deceptive media campaign, turning the oppressed into a villain. It is a fact that Israel is an occupying and apartheid country that controls our land, steals our water and natural resources, depriving us of our basic human rights for the past 66 years. The Israeli recurrent massacres will never end. Telling and sharing our stories and what is happening in Palestine is very essential. We are obliged to take the streets and strongly condemn the killing of the people of Gaza”.

NO EXIT is produced and curated by Myriam Vanneschi and co-produced by Igor Molochevski.
The programs of Whitebox Art Center are made possible in part by the New York City Department of Cultural Affairs.

Link to Whitebox Art Center: http://whiteboxnyc.org/

Press Contact: press@whiteboxny.org


EVENT

Honky


Dates:
Fri Jun 20, 2014 18:00 - Sun Jun 22, 2014

Location:
New York, New York
United States of America

Whitebox Art Center and MAK Gallery present

Piotr Skiba’s New York Premiere Performance

On view June 20th through 22nd 2014
Opening reception June 20th | 6-8pm

New York City – Piotr Skiba’s New York premiere performance — HONKY — features a series of video installations that make use of elements of the ready-made & the found, combined with sequential performance footage to produce a single, if contextually fragmented, narrative focused on individual displacement. In a series of episodic self-portraiture — as if unpacking the Russian dolls of invented characters — Skiba offers a glimpse of his self-made mythology on the one hand, while on the other he opens a discussion on alterity, and the intense erosion of tolerance affecting the homogenous society of Poland.

The artist, penetrating the fluid boundary between himself and the Other, multiplies the motif of the mask. White mask vs. Black mask. Negative space, the relevant shapes; the “real” subject of conversation is oftentimes created by a deliberate reversal of the figure and ground. A Honky-Polack drowning in the incomprehensible soundscape of New York illuminates the desolation of the anonymous hobo-preacher, whose black silhouette seemed so arbitrarily pinned onto the whiteboard of Skiba’s hometown as to become his shamanic alter ego. Skiba projects persistent feelings of displacement — by setting things in a configuration and an environment where they in their turn displace and alienate, and thereby acquire a new aspect, an unfamiliar affect despite being familiar objects and ordinary people.

The key to the curatorial perspective may lie in the sculpture of Black Homer: an oversized plush “bath slipper” sprayed with matte paint which transforms one of the most influential characters in the history of TV — Homer Simpson — into a powerful totemic presence. Flattened by a black finish, the already dull features of this American suburban stereotype take on a painfully amorphous yet threatening expression. Power found, or power redeemed by blackness on a flip of this particular coin feeding a fascination of a young Polack with hip-hop, or rap culture.

The viewer is thrown into a disturbing carnival of schizophrenia when confronted by either the hoodie of the imaginary Negro from Skiba’s performance, a white high-end latex mask reminiscent of bank robberies, or the impenetrability of a foreign language described by Canetti as an ‘acoustic mask’. By a series of transpositions performed on the artist’s own face, body, or individual limbs used as fragmented images isolated from their original context, Skiba produces the associations of exclusion, loss, and finally, impending madness.


EVENT

Narcistecture


Dates:
Fri Jun 13, 2014 18:00 - Thu Jul 03, 2014

Location:
New York, New York
United States of America

Whitebox Art Center presents

Narcistecture
New Photographs by Klaus Pichler

Opening reception Friday June 13th | 6-8pm
Exhibition on view June 13th – July 3rd 2014

Curated by Carolina Sandretto and Tony Guerrero


EVENT

China: June 4, 1989


Dates:
Sun Jun 01, 2014 11:00 - Tue Jun 10, 2014

Location:
New York, New York
United States of America

Whitebox Art Center and Asian American Arts Centre present

China: June 4, 1989

The 25th Anniversary Exhibition in Commemoration of Tiananmen Square

Opening Celebration Sunday, June 1st | 11-6pm
Exhibition on view June 1st – 10th 2014

Vito Acconci | Luis Cruz Azaceta | Betty Beaumont
Luis Camnitzer | Mel Chin | Agnes Denes | Lotus Do
John Duff Leon Golub | Billy Harlem | Edgar Heap of Birds
Ava Hsueh | Kunio Izuka | Ik Joong Kang | Donald Lipski
Liliana Porter | Rumiko Tsuda | Daniel Georges | Dolly Unithan
Martin Wong | Sofia Zezmer | Zhang Hongtu

New York City – In collaboration with Whitebox Art Center, Asian American Arts Centre presents China: June 4, 1989, an exhibition on the lower level exhibition space of this non-profit institution. The exhibition features works from artists that were part of the original 1989-90 exhibition, in commemoration of the events at Tiananmen Square. Alongside these works, there will be a wall of clippings displaying news articles and mementos for those who want to learn exactly what happened – many in Chinese.

The original exhibition, which accumulated over 300 artists at Blum Helman Warehouse in SoHo, then later at PS 1 in Long Island City, eventually encompassed 174 standing panels (doors) linked to form a freestanding expandable wall. Over 80 small works were also on display. Artworks represented artists from Argentina, Sweden, Britain, Italy, France, Greece, Japan, and Korea. Each piece reflects the artist’s response to this social crisis from their own artistic and cultural stance, articulating peoples’ outcries in vivid multimedia formats. Multiple perspectives are gathered, reflecting a diverse response to expanding political horrors.

Curator Robert Lee states ”As the Twenty-fifth Anniversary of the 1989 Tiananmen Square student massacre approaches, the erasure from history of this incident in China seems complete. For the peoples of every other nation in the world, however, the Tiananmen Square Massacre remains an open question. As a political question, censorship throughout China and the demands of Chinese citizens, like the Tiananmen Mothers, awaits recognition by China. As a human question, the tragedy and premeditation of this incident is incalculable, impacting China as well as the world. The humanity of the students was clear, and their murder by authorities an incalculable outrage. Yes, they shot the students. A horror magnified a thousand times by the media for the watching world. It focused and transformed the clash of Chinese political destinies into a televised drama of global proportions, imprinting itself on the human imaginary in epic dimensions. Never before was such violence turned into a spectacle, with weeks to prepare a global viewership, for the unspeakable to become suddenly reality.”

This exhibition serves to recognize this human tragedy, this global trauma, a human spectacle of incalculable proportions, buried and awaiting resurrection. The reverberations are still echoing throughout the world, in the hearts of the people who were there, concretely and vicariously; they watched and saw. Their grief and outrage and humanity are brought to the forefront here, with this exhibition acting as an archive for Tiananmen Square. In addition to the media event this moment became, these artworks depict the public response and feeling that was felt around the world. While creating work from a place of empathy, each also needed to evoke the gravity of the event. Although the styles and media vary, the overall goals of the artists are unified: to do Tiananmen Square justice as well as offering a space for commemoration.
In conjunction with the exhibition, there will be a special screening of “Portraits of Loss and the Quest for Justice”, a documentary provided by Human Rights for China that consists of footage shot by the Tiananmen Mothers – a group of family members of those killed during the violent crackdown of the 1989 Democracy Movement. The documentary will be on view during the opening and closing receptions, at which time light refreshments will be available.

AAAC and Whitebox Art Center welcome student groups, educators and the general public to the exhibition space in their visit to the Lower East Side.
http://www.manhattandigest.com/2014/05/20/art-china/

Curated by Robert Lee
Press Contact: press@whiteboxny.org AAAC Contact: rlee@artspiral.org & lee.aleta@gmail.com
http://www.artspiral.org/