May 18 – 23, 2015 / Queens College, CUNY - New
York
Alisa Alig / Bernabé Carrasco / Capucine Gros / Glenn Goldberg / Stone Hubbard / Alan Jen Lien
Carla Kasumi / Emily Marchesiello / Nicole Mouriño + Ryan Till / Sofya Radelet / Priscilla Stadler
Ramona Todoca + Rudolf Costin / David Wallace + Sunaura Taylor / Julia Wallace / David Yañez / Carolin Wood
Alisa Alig
<33
"How I perceive the two of yawl- distinctly beautiful in each your own
variegated maps that have formed a single tube-intention. Your current
path is a narrative, interacting as a landscape: beautiful, happy, and alive…"
Bernabé Carrasco
Artist's website
Homo Sapiens-Amans Amans
"This body of work reflects on the language of art and emotion.
It emerged out of a collaborative space between art and science which allowed to take as departure points for painting the
subjects of cultural biology, the human being, its languaging, creativity, meditation and the silence that comes with painting.
“Homo Sapiens-Amans Amans” takes place by coexisting in a relational dynamic that conserves love and tenderness as a
manner of relating to yourself and others.“
Capucine Gros
Artist's website
The Geography of Love, 2015
Screen-print and hand-stitch on canvas,
Screen-print and pen on paper
“The Geography of Love” is an infinite project inviting others and myself
to partake in the exercise of recognizing all the people we love or have
loved, and of acknowledging the 7 billion others whom we (presumably)
do not love. In addition to requiring each participant to define the cultural,
contextual and subjective term “love” for themselves, the act of plotting
love on a map should help us all visualize the physical limits of our
emotions and, therefore, of our capacity for empathy. Ultimately, I hope
to ask what it might take for us to extend our sense of love further than
the confines of our geographical location and, perhaps, to what extend
love can be a matter of choice.
Glenn Goldberg
The works stem from a desire to embrace my confusion, genes, education, personal history
and animal instincts. Rhetoric becomes displaced/replaced by form, materiality, curiosity and a
desire to love and be loved. Our species has great difficulty both in shedding gross bias and
acting with kindness and understanding. We must untrain ourselves bit by bit. Embarrasment
and vulnerability is necessary to move in a superior direction. So is the distribution of gifts.
"The word is not the thing."
The works stem from a desire to embrace my confusion, genes, education, personal history
and animal instincts. Rhetoric becomes displaced/replaced by form, materiality, curiosity and a
desire to love and be loved. Our species has great difficulty both in shedding gross bias and
acting with kindness and understanding. We must untrain ourselves bit by bit. Embarrasment
and vulnerability is necessary to move in a superior direction. So is the distribution of gifts.
"The word is not the thing."
Stone Hubbard
Lunch bag, 2015
Faux wolf fur cow leather, and tyvek lining
I drew inspiration from “An imagined scenario: Part 1”.
It is homage to the wolf and our love of food and accessories.
Alan Jen Lien
Untitled, 2013
Spray paint on Sculptamold
The transgender, bi-gender, agender, gender-neutral, non-binary, the third gender, or the
hermaphrodite personifies the melding of the interplay and power struggle between the
binary sexes. I am interested in such consolidations to suggest an outlook beyond binaries.
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Carla Kasumi Artist's website 110 V3U, 2015 Messages left in library books Tracing paper, pencil and pen P.S. I love you, 2015 Notes left in subway cars written in 99 languages (not English) Contact paper and pen My first reaction to the ideas developed by Maturana and Verden-Zoller was that they had used ‘scientific-speak’ to convey what I had only known intuitively. After ruminating on these ideas for a few weeks, I felt a disconnection between our basic human need for love and life in a metropolis. Here in New York, among throngs of people and endless subway rides, love is lost, in missed encounters and bad luck. Lack of patience and headphones often hinder serendipity. The works I’ve created for this event speak to this feeling of being adrift in a sea of bottles, and the messages inside them are illegible. |
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Emily Marchesiello
LoveTree, 2013
Watercolor painting
Trees are a symbol of life, strength, and growth, amongst other things.
Unimpeded, the roots and limbs of a tree stretch out in all directions; growing
with each passing season stronger and more intertwined with the world around them.
Sturdy and reliable, the effortless beauty of trees inspires artists, thinkers, writers
and dreamers to contemplate all their qualities, forming similes and metaphors to live
by and strive for. The image of two lovers embracing in the guise of a steadfast tree is
not a new one, but this version aims to stir feelings of comfort, warmth, joy and a knowing
sense of coming home… folding into the arms of the one you love.
Nicole Mouriño + Ryan Till
Nails 02 with Calendar, 2012 and 2015
Period blood, pva, acrylic, pumice, pigment dispersion and spray paint on canvas.
In a decaying society, art, if it is truthful, must also reflect decay. And unless it wants to
break faith with its social function, art must show the world as changeable. Engaging
both seduction and repulsion, this collaborative painting discusses how consumption and
rituals of everyday life cause personal spatial relationships to break into a fractured
semblance involving the paradox of memory and observation. It is an image of humiliation,
threat, and squalor that playfully addresses the idea of the domain and notions of desire.
The drawing is a physical collaboration spanning 60 days- where certain foods were
gently eliminated from our daily diets. On successful days we would draw a cross on
the box (Purple-Nicole, Black-Ryan), on unsuccessful days we would share our
mishaps in the form of an illustration.
Sofya Radelet
Artist's website
Postcard, 2 , 2015
Copper mesh, thread, clay, ink
Everyday we present ourselves to the world, both internally and outwardly, and
everyday the world respond to us. In a sense we create the world around ourselves;
receiving back the results of our progress and shortcomings. How much we love or
care affects the experience of our lives, but not always in the ways we expect. Perhaps
some efforts that seem unnoticed are the most important, and the more obvious
results may have lessons we couldn’t have foreseen. We are always being taught by
the world as our inner realities seek expression.
The second of two postcards in a series where the viewer both sends and receives a message.
Artist's website
Postcard, 2 , 2015
Copper mesh, thread, clay, ink
Everyday we present ourselves to the world, both internally and outwardly, and
everyday the world respond to us. In a sense we create the world around ourselves;
receiving back the results of our progress and shortcomings. How much we love or
care affects the experience of our lives, but not always in the ways we expect. Perhaps
some efforts that seem unnoticed are the most important, and the more obvious
results may have lessons we couldn’t have foreseen. We are always being taught by
the world as our inner realities seek expression.
The second of two postcards in a series where the viewer both sends and receives a message.
Priscilla Stadler
Artist's website
Wear is Love? - Healing garments project, 2015
Dyed Cheesecloth, lights
For the “Biology of Love” exhibition visitors are invited to participate in
“Wear is Love?”. This interaction focuses on self-love and healing, with a
little help from Team Love.
The visitor is invited to choose a part of their body that’s been injured, or
that they do not like. A Team Love member will drape them with a healing
cloth that has intentionally been dyed with love and healing energy.
Together they will “zap” that part of the visitor’s body with love.
Ramona Todoca + Rudolf Costin
What are we?, 2015
Video
"What are we?" attempts, via two simple questions, to find the key to the biology of love, to
define our human nature. It reduces the complexity of this matter to a binary duality.
It asks the reader, the audience, the passer-by to pick a side, to see black or white,
to choose between yes and no. An initial visceral response only meant to linger on, to grow
doubtful over time, to slowly, quietly reveal itself as something much more multi-faceted.
In the end, (hopefully), every one of us who strongly picked a side as an answer to this piece,
would start to discover, as a mental or conversational exercise in "what ifs", that there is an
infinite number of nuances between the black and white.
David Wallace + Sunaura Taylor
Artist's Website
For The Love of The One Who Has Not Arrived Yet, 2015
Shadow puppet machine
David collaborated with artist Sunaura Taylor on a shadow puppet machine as well as
some oral stories entitled “For The Love of The One Who Has Not Arrived Yet.”
They are making the piece for their 8 month old fetus due to be born July 5, 2015.
Julia Wallace + David Wallace
Sibling Dance, 2015
Dance/performance
David Yañez
The Birth of a Singularity, 1995
Acrylic on Canvas
(...)
By coming together, the universe has created life,
Which has created, awareness,
Which has created, hope,
Which has created, will,
Which makes the pain bearable,
Long enough to love and be loved,
To experience, the end of,
The Samsara of Love and Pain.
"The Samsara of Love and Pain" (extract)
