July 1, 2014 – June 30, 2015
Konstanet (Tallinn, Estonia)
Recess (NYC, USA)
SOMA (Mexico City, Mexico)
S T O R E (Dresden, Germany)
Final Quarter: April 1-June 30, 2015
Videos selected for Recess by Tin Nguyen
Chris Burden, Sophia Cleary, DIS, Duox Duox, Raque Ford, Maggie Lee, Geoffrey Lillemon, Marilyn Minter, Tin Nguyen, The Propeller Group, Robot (Takuji Kogo + John Miller), Michael Smith, United Brothers, Andy Warhol and Yemenwed.
On July 1, 2014, S T O R E launched official office on two shelves in Recess’s Soho office space. Simultaneously, Recess launched official office on two identical shelves in S.T.O.R.E’s Dresden office space. Over the course of the year, additional art spaces around the world have joined official office by installing the shelves in their office space. The project was documented on recessanalog.org, the site of Recess’s online residency program.
Curators from each official office location have collaboratively curated a video playlist which screens simultaneously across participating spaces and online. For the program’s final quarter, artist and curator Tin Nguyen will select videos for Recess.
official office consists of two Ikea shelves. On the left shelf is a monitor with rotating video programming selected by invited official office participants. On the right shelf is a vase with a flower selected by official office participants and a clock set to local time. Photographs of each official office uploaded to recessanalog.org. Archives of video programming are available on the Recess Analog website.
Given the enforcement of prescribed start times, the video streams run 24-hours a day, concurrently around the world, officially. This creates a bootleg broadcast experience, a simulacrum of the shared viewing event live TV offers. Like playing music for houseplants, playing videos in offices stimulates health and well-being.
Over the course of the project, art spaces have been invited to join Official Office. At any time, art spaces may opt-in as a participant by sourcing the needed equipment or purchasing an official office pack consisting of a shrink-wrapped set of Ikea shelves, a vase, a monitor, and a clock. Price for the set is dependent on location and shipping costs. The set will include specific installation instructions. In either case, recipients must source their own flower.
Contact firstname.lastname@example.org to purchase a set or for official office inquiries.
Past curators for Recess’s channel are Ann Chen, Ben Wolf Noam, E.S.P. TV and Eugene Kotlyarenko.
Final quarter artist bios:
Burden was born in 1946. He received a B.A. from Pomona College, Claremont, California, and an M.F.A. from the University of California, Irvine. The first New York survey of his work, “Chris Burden: Extreme Measures,” opened in the Fall of 2013 at the New Museum for Contemporary Art, New York. A major retrospective of his work, “Chris Burden: A Twenty Year Survey,” was organized in 1988 by the Newport Harbor Art Museum, California. He has performed and exhibited his work internationally, at institutions including MAK-Austrian Museum of Applied Arts, Vienna; Centre Georges Pompidou, Paris; de Appel, Amsterdam; The Tate Museum, London; The Baltic Centre, Newcastle, England; The 48th Venice Biennale, Venice; The Museum of Modern Art, New York; The Museum of Contemporary Art, LA; Museum of Conceptual Art, San Francisco; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Institute of Contemporary Art, Boston; Museum of Contemporary Art, Chicago; and the Whitney Museum of American Art Biennial, New York. He is the recipient of numerous awards, including grants from the National Endowment for the Arts and a Guggenheim Fellowship, and taught for many years at the University of California, Los Angeles. Burden lives and works in Topanga, California.
Sophia Cleary is an artist based in New York. She has worked with the Kate Bush Dance Troupe, Ann Liv Young, Dynasty Handbag (Jibz Cameron), Neal Medlyn, and Alexandra Bachzetsis. She has presented her work at the the Center for Performance Research, Danspace Project, Dixon Place, and e-flux. She is the founder and coordinator of the works-in-progress series REHEARSAL and is co-editor for Ugly Duckling Presse’s performance annual Emergency INDEX. Her most recent project is feminist punk band Penis, a collaboration with Samara Davis. sophiacleary.com
DIS is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. Most notably these include, DIS Magazine, co-founded with Nick Scholl, Patrik Sandberg and S. Adrian Massey III in 2010 as a virtual platform that examines art, fashion, music and culture, constructing and supporting new creative practices. More at http://dismagazine.com/.
Wickerham & Lomax is the collaborative name of Baltimore-based artists Malcolm Lomax (b. Abbeville, South Carolina, 1986) and Daniel Wickerham (b. Columbus, Ohio, 1986). Formerly known as DUOX, the two have been working together since 2009. They have developed a searching, nuanced practice that applies a keen critical intuition and fine-tuned irreverence to the problems and potentialities of our contemporary media ecology. Working across diverse media, curatorial platforms, and institutional contexts, they have created a body of work at once context-specific and broadly engaged with networked virtualities. W&L are particularly invested in questions of identity and the body, exploring the impact—profound, ubiquitous, ambivalent—of digital technologies and social spaces on the formation of subjectivities and speculative corporealities.
Born in 1981, lives and works in Amsterdam and Los Angeles.
Marilyn Minter has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010 and the Deichtorhallen in Hamburg, Germany in 2011. Her video Green Pink Caviar was exhibited in the lobby of the MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York. Minter’s work has been included in numerous group exhibitions in museums all over the world. In 2006, Marilyn Minter was included in the Whitney Biennial, and in a collaboration with Creative Time she installed billboards all over Chelsea in New York City. Most recently, Minter was featured in “Riotous Baroque,” an exhibition that originated at the Kunsthaus Zürich and traveled to the Guggenheim Bilbao. A retrospective of Minter’s work will open at Contemporary Art Museum Houston, TX and will travel around the country, ending at the Brooklyn Museum, NY. Minter is represented by Salon 94, New York and Regen Projects, Los Angeles.
Tin Nguyen (1988) currently lives and works in Greenpoint, Brooklyn.
The Propeller Group
“The Propeller Group was established in 2006 as a cross-disciplinary structure for creating ambitious art projects. With backgrounds in visual art, film, and video, Phunam, Matt Lucero, and Tuan Andrew Nguyen created the collective to harness the synergetic spirit encountered in large-scale production efforts. Through multi-platform work, collaborations with other artists, and dual headquarters in Ho Chi Minh City, VietNam and Los Angeles, California, The Propeller Group is able to integrate many resources and idiosyncrasies in their practice, which expose the strategies of the type of global agency their name suggests.” Ethan Swan
Robot ( Takuji Kogo + John Miller )
Robot is a virtual band formed by Takuji Kogo and John Miller in 2003.
Robot songs and music videos use various personal ads as lyrics.
The music is entirely synthetic; both the vocals and instrumentation are produced electronically.
Robot has been presented at Le MAGASIN Grenoble, New Museum, Metro Pictures gallery, Frankfurter Kunstverein, Galerie Barbara Weiss Berlin and Kitakyushu Biennial.
Takuji Kogo based in Fukuoka, Japan.
John Miller based in NY/ Berlin.
Since 1979, the majority of Michael Smith’s work has centered on his extraordinarily prescient and sympathetic character, the naïve and somewhat inept Everyman, Mike, who is the focus of this exhibition. Smith’s other recurring performance persona is Baby Ikki, whose bizarre and precipitous infancy is marked by conspicuous facial hair, oversized diapers, and undersized sunglasses. To elaborate these performances, which were created both for the stage and for video, Smith has generated a huge corpus of work, collaborating with a wide range of artists in many media. In addition to the time-based works, he and his collaborators have broken new ground in immersive installation art, and, working solo, he has produced several artists books and an impressive corpus of drawings and sketches that detail the creative process. Many of these were published recently in MICHAEL SMITH Drawings: Simple, Obscure and Obtuse (NY: Regency Arts Press, 2007).
Throughout his career, Smith has been actively engaged as a lecturer, critic, artist, and instructor at a number of prestigious institutions, among them Yale University, the Royal Danish Academy, and UCLA. Smith currently serves as Associate Professor of Studio Art at the University of Texas at Austin, where he has been teaching performance art since 2001. In 2007 Smith received The Louis Comfort Tiffany Foundation award and The New York Foundation for the Arts (NYFA) honored both he and Joshua White for their multi-disciplinary work; Smith has received numerous other fellowships and awards, including those from the MIT Center for Advanced Visual Studies (2005-6), Art Matters Inc (1996, 1990, 1987), the National Endowment for the Arts (1991, 1983, 1982, 1978), and the Guggenheim Foundation (1985).
UNITED BROTHERS (Ei Arakawa and Tomoo Arakawa) is the artist collective working internationally. UB was originally founded as a corporation in Fukushima.
Born in 1928 in Pittsburgh, Pennsylvania, Andy Warhol studied commercial art at Carnegie Institute of Technology before moving to New York in 1949 to work in advertising—a career that supported him for more than a decade and directly informed his art. The subjects of many of his early paintings were derived from advertisements and comic strips, first hand-painted, then, by 1963, exclusively silkscreened, a production method associated with commercial printing. In his work across a range of mediums, Warhol proposed a radical reevaluation of artistic subject matter in which a Brillo pad box or Campbell’s soup can could be as worthy of attention as any traditional still life or abstract field of color. In turn, Warhol and his Pop art peers upended the commonly understood distinctions between “high” and “low,” making art that blatantly celebrates consumerism and mass culture. Working with dozens of assistants in a studio he dubbed The Factory, Warhol systematically reduced the presence of the artist’s hand in his work, while also amplifying his own outsized cultural persona, taking on an important role as a conduit between art, fashion, film, music, publishing, and pop culture. “I want to be a machine,” Warhol famously said. His multifaceted, prolific oeuvre is a testament to that ambition’s success.
Yemenwed is a collective founded in 2006 in New York City. They create collaborative works, which synthesize the focus of its varying members.
Yemenwed’s work often explores a detached reality; a hyper re-clarification of the present moment, which frequently results in the visual shifting of peripheral experiences to the foreground. Mundane movement, tangential objects and domestic abstractions are theatrically rearranged to be viewed as central, and with increased detail.
The group maintains an active interest in the vocabulary of mainstream popular culture, and its conventions, as well as entertainment value, and notions of beauty.
Yemenwed has participated in exhibitions and performances at MOMA P.S.1 Contemporary Art Center, Tate Modern, MOCA, Palais de Tokyo, Portland Institute for Contemporary Art TBA:10, Performa 09 and the Hessel Museum of Art.
Full participant info available at recessanalog.org
official office is an idea of Konstanze Schütze, Paul Barsch and Recess.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.