Everything in Between
April 14th - May 22nd, 2016
Opening Reception: Thursday, April 14th, 6pm - 9pm
Artist talk: Thursday, April 21st, 6pm
Contact: Susanna Tu | [email protected] | 916.448.2985
Image credit: Morehshin Allahyari, Material Speculation: ISIS, Ebu, 2016
Verge Center for the Arts is pleased to present Everything in Between, a solo exhibition from Bay Area based artist, Morehshin Allahyari. Everything in Between showcases a selection of works by Allahyari, highlighting her continuing interest in poetic and practical archiving and documenting of the censored through the use of technology. In her exhibition at Verge, Allahyari explores censorship on the destruction and removal of female body, objects, and the internet through the acts of storytelling, digital and physical archiving, 3D printing, and reappropriation. Allahyari’s work studies the tension between censorship, religion, politics and the forbidden; exploring an expanded view of these relationships in digital and contemporary discourse.
Everything in Between features work from six different projects and bodies of work from Allahyari, with the title of the show being taken from one of the selected works. In the ongoing research and archival project, Everything in Between, Allahyari includes videos of Iranian women singing solo- a practice that has been banned since the 1979 Iranian Revolution. In Islam, women’s voices are believed to have the potential to trigger immoral sensual - or kinetic - arousal. These videos, along with hundreds that have been uploaded onto YouTube, have triggered a lot of interesting and complicated discussions on social media. Allahyari uses the web as a platform for the documentation of these social, political and digital phenomenons.
Her most recent work, Material Speculation: ISIS, is a 3D modeling and 3D printing project focused on the reconstruction of 12 selected (original) artifacts that were destroyed by ISIS in 2015. Allahyari’s selection of Material Speculation statues at Verge highlight the destruction of the female body as a form of ownership and censorship by removing the female body from the public sphere.
With Like Pearls, Allahyari created a web-based project which is a mash-up of images and GIFs collected from her Farsi email spam and online underwear stores based in Iran. The project examines how the kitsch aesthetics of spam and advertisement on the Iranian web is a complex phenomena, involving layers of cultural and religious censorship and oppression toward women and romance.
In Allahyari’s Dark Matter series, her 3D printed sculptures are a combination of censored and/or objects forbidden in Iran. Many of these objects are common (dog, dildo, gun, necktie, satellite dish, etc.) and freely used or available in other countries, but are deemed undesirable by Iranian government laws. By printing these objects into physical existence and placing them in humorous and surreal juxtapositions, Allahyari simultaneously resists and brings awareness about the censorship of objects in the lives of Iranian citizens.
In Mere Spaces All Things Side by Side is the first video in a series which explores the complex adoption and accessibility of the internet in a developing country where the internet is heavily censored and controlled. Using her adolescence Yahoo chat archive as a point of departure, In Mere Spaces All Things Side by Side creates an imagined space between the physical and the virtual, poetically connecting the failure of the relationship to the failure of technology and communication.
ABOUT THE ARTIST
Morehshin Allahyari is a new media artist, activist, educator, and occasional curator. She was born and raised in Iran and moved to the United States in 2007. Her work extensively deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a philosophical toolset to reflect on objects; a poetic means to document the personal and collective lives we live and our struggles as humans in the 21st century. Morehshin has been part of numerous exhibitions, festivals, and workshops around the world including Museum of Contemporary Art in Montreal, Pori Museum, Dallas Museum of Art, Museo Ex-Teresa Arte Actual, Contemporary Arts Museum of Houston, Museum für Angewandte Kunst, Miami Art fair, and Material Art fair. She has been an artist in residence at Carnegie Mellon University’s STUDIO for Creative Inquiry (2015), Autodesk Pier9 Workshop in San Francisco (2015), and BANFF Centre (2013), among others.
Her work has been featured in NYTimes, Huffington Post, Wired, NPR, VICE, Parkett Art Magazine, Rhizome, Hyperallergic, Dazed Digital, Neural Magazine, Global Voices Online, and Al Jazeera among others. Morehshin is the Co-Founder of the Experimental Research Lab at Pier9/Autodesk.
January 9th - March 20th
Opening Party: Saturday, January 9th, 6pm - 9pm.
Members Preview: Saturday, January 9th, 5pm - 9pm
Verge Center for the Arts is pleased to be participating in the longest-running exhibition ever, do it, curated by Hans Ulrich Obrist. do it is a conceptual exhibition that is based on written or drawn instructions from various artists, resulting in a new version of itself with each location it is shown. Verge has chosen twenty instructions from a compendium of 250, and will present them in the form of realized objects, performances, and public engagement. Artists include: Felix Gonzalez-Torres, Amalia Pica, Stephen Kaltenbach, Yoko Ono, Rirkrit Tiravanija, and more. The Opening Party will be Saturday, January 9th, from 6pm – 9pm.
do it began in Paris in 1993 as a conversation between Obrist, Boltanski and Lavier who were curious to see what would happen if they started an exhibition that would never need to stop. To test the idea, Obrist invited 12 artists to propose artworks based on written “scores” or instructions that can be openly interpreted every time they were presented. The instructions were then translated into 9 different languages and circulated internationally as a book. In the 20 years since Obrist, Boltanski and Lavier mused over the potential of “scores,” or written instructions by artists, do it created exhibition formats that could be more flexible and open-ended. Each time it was presented, do it was re-interpreted. Many new versions of the exhibition were formed, including do it (museum), do it (home), do it (TV), do it (seminar), and an online do it in collaboration with e-flux, among others.
The origin and transformation of do it reflects the necessity of exploring collaboration and shared authorship in a constantly evolving art world. The project’s impetus is rooted in the extraordinary effects of globalization on curating and artistic practice in the 1990s, a time that witnessed an unprecedented expansion of the geographies of contemporary art. Twenty years later, do it has taken place in 60+ venues worldwide and includes nearly 400 artists from across the globe, giving new meaning to the concept of an exhibition in progress, while offering infinite creative possibilities for participating audiences everywhere.
Adrian Piper asks audiences to hum a tune in order to enter a room. Ben Kinmont wants us to “invite a stranger into [our] home for breakfast.” Alexandre Singh teaches us how to turn wine into soda. Yoko Ono encourages us to keep wishing. And Mircea Cantor demands that we “burn this book. ASAP,” but John Armleder says to do “None of the above.”
Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) is co- director of the Serpentine Galleries, London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville, Paris. Since his first show “World Soup” (The Kitchen Show) in 1991 he has curated more than 250 shows.
Obrist’s publications include A Brief History of Curating, Project Japan: Metabolism Talks with Rem Koolhaas, Everything You Always Wanted to Know About Curating But Were Afraid to Ask, do it: the compendium, Think Like Clouds, Ai Weiwei Speaks, Sharp Tongues - Loose Lips - Open Eyes - Ears to the Ground, along with new volumes of his Conversation Series. Since 2006, Obrist has initiated a series of “marathons,” including the Interview Marathon, Experiment Marathon, the Poetry Marathon, and most recently the 89Plus Marathon (co-curated with Simon Castets, Director and Curator, Swiss Institute).
do it was made possible in part by grants from the Elizabeth Firestone Graham Foundation, the Robert Sterling Clark Foundation, and with the generous support from Project Perpetual and of ICI’s International Forum and Board of Trustees.
Independent Curators International (ICI) produces traveling exhibitions, events, publications, and training opportunities for diverse audiences around the world. Established in 1975 and headquartered in New York, ICI is a hub that provides access to the people and practices that are key to current developments in the field, inspiring fresh ways of seeing and contextualizing contemporary art.
ABOUT VERGE CENTER FOR THE ARTS
The mission of Verge Center for the Arts is to expose the Sacramento art region to internationally recognized contemporary art, while providing vital resources to local career and emerging artists. Located in downtown Sacramento, Verge’s facility includes a 2,000 square foot gallery, a classroom, and 38 artists studio. Hours: Wednesday – Saturday, 11am – 6pm: Sunday, 12pm – 5pm.
Opening Party: Saturday, January 9th, 6pm - 9pm
Screening of Marina Abrahmović: The Artist is Present, Thursday, January 21st, 7pm ($5 general, $3 students, free for members)
Screening of Louise Bourgeois: The Spider, The Mistress, and The Tangerine, Thursday, February 18th, 7pm $5 general, $3 students, free for members)
For more information, please email [email protected], or call 916-448-2985.
Image credit: Jérôme Bel, Shirtology, 2012 © Tate, 2012; Photo: Tate Photography, Gabrielle Fonseca Johnson
Make your year-end donation to Verge today!
The mission of Verge Center for the Arts is to expose the Sacramento region to internationally recognized contemporary art, while providing vital resources to local career and emerging artists of all ages, skill levels, and backgrounds in the Sacramento Valley. Education at Verge was founded on the principle that studio-based artists teach lessons inspired by their practice that are designed to be stimulating, and age-appropriate, while developing dexterity and creative-thinking skills.
Access to high-quality art education is often rare for children in underserved communities. Less than 3% of our K-12 education spending is on arts education in California public schools. For children from communities with less socioeconomic wealth, high quality arts education is out of reach. Lack of financial resources should not prevent youth from participating in art activities designed to cultivate their critical thinking and creative problem skills, dexterity, and sharpen their curiosity.
As part of our mission to serve Sacramento’s young emerging artists, Verge has formally launched the Youth Art Education Scholarship program as a commitment to young artists in need. This program provides up to 50% of attendance in our kids education programs free of charge to any child who qualifies for a free lunch program in the city or county of Sacramento.
Your support of Verge not only helps students attend art classes, it can also enrich their whole lives through learning new skills. A 2010 Guggenheim Foundation study found that art education methodologies like the ones Verge uses also help students improve other life skills like flexibility, resourcefulness, and reflection upon personal goal setting. Thus, Verge’s art programs provide crucial skill sets that students continue to utilize even after instruction ends.
Verge strives to provide a safe and nurturing environment for all kids who attend our programs so that they can fully concentrate on the joy of making art. To help aid this effort, scholarship students are provided with transportation, meals, and extended drop off times before and after class. We rely on a variety of community partners in order to facilitate these efforts including United Christian Center of Sacramento, Food Literacy Center, and Blick Art Materials.
In the previous two years, through the generosity of individuals like you as well as grants and corporate funding, Verge offered over 100 scholarships to youth from Wellspring Women’s Center, Staging a Miracle, United Christian Center of Sacramento, and Horizon Charter School’s Sacramento Leadership Cooperative Program. This support had an amazing impact on children throughout the region. Through engaging with children and their families, we identified a huge need for more scholarships and formed our Youth Art Education Scholarship program.
In 2016, we hope to provide over 400 children scholarships in the following programs:
Kids Studio Art Camp for 12 weeks throughout the year each with different themes developed for different ages
Drop-in Studios year-round open sessions in clay facilitated by an artist to get your hands dirty
Clay Classes multiple session classes designed to build dexterity and creative problem solving in clay
Bring Home Art Workshops to make framed or completed art in one day
Art for Everyone Intergenerational programs for the whole family
Emerging Artists Mentorship Program designed to cultivate the potential of students
Customized art curriculum development for schools and community organizations
In order to continue and expand this program, our connection with businesses and experience in administrating these scholarships is not enough. We need your support. Your gift to the Verge Annual Fund will help underserved children have access to art education. In addition, your support will help make permanent the Youth Art Education Scholarship program by helping Verge expand outreach, administration and curriculum development.
Your end-of-year donation will provide vital resources to the Sacramento community. A donation of $200 sends a child to camp, $50 pays for attendance at a seasonal workshop, and as little as $25 can help fund art supplies or a days worth of snacks and lunches. Your generosity helps support our mission to serve the youngest members of our community’s emerging art scene. A fully tax-deductible gift in any amount is greatly appreciated.
Click here to make your donation now!
Thank you in advance for your consideration and continued support of Verge. Happy Holidays!
THE art auction
Saturday, November 21st
Doors open at 5:30
Verge's first Art Auction is coming soon! Tickets are $75 general, $50 members. Since merging with the Center for Contemporary Art last summer, there's been a desire to restart the auction they had established with a few tweaks. As in year's past, we're adopting the Saturday before Thanksgiving for the event, which is November 21st this year. One of the strongest features of the Center's auction involved their emphasis on combining works by established contemporary artists with emerging artists from the region. This year will be no different will artists like Brenda Louie, Suzanne Adan, Ron Peetz, and Kim Squaglia lending their names to the event. Members receive $25 off admission so mark your calendars now!!!
Food generously provided by Hot Italian, Lucca, Magpie, and Taylor's Kitchen.
PURCHASE YOUR TICKETS HERE: https://vergeart.ejoinme.org/tickets
Participating artists include:
Ann Marie Campbell
Jose Di Gregorio
John Yoyogi Fortes
Jennifer O'Neil Pickering
Manuel Fernando Rios
Tyson Anthony Roberts
Annie Murphy Robinson
Michael S Rodriguez
Jennifer Kim Sohn
If you are interested in donating art, or volunteering, please email[email protected]
Curated by Dena Beard
September 10 - October 25th
Artist & Curator Talk:
Thursday, October 22nd, 6-9pm
For the past three decades, Lucy Puls has been turning unwanted objects and photos of abandoned domestic environs into insignias of the consumer world. Lucy Puls: [just you] encompasses over 40 objects from 1987-2015, with the past decade being a particular focus. During that time, she has refined her interest in found objects and collage and created several new bodies of work. These works, which range from smaller, diorama-like floor sculptures to complex wall pieces, incorporate photographs, stubbed out cigarettes, kitschy souvenirs, home stereo systems, pop culture cast-offs, and household products.
Although relatively obscure, Puls has created an immediately recognizable aesthetic that, alongside artists like Eva Hesse and Isa Genzken, challenges definitions of how female artists work. By impressing her own rigid self-imposed set of treatments and rules upon discarded objects and environments, Puls transforms how we perceive their value. Often this involves covert investigations, toxic substances, and aggressive treatment of materials usually associated with male sculptors. While flipping this cliché on its head, Puls interrogates these abandoned domestic spaces and castoff objects, and infusing them with a system of values that critiques patriarchal consumerism.
A fully illustrated catalog accompanies the exhibition with an in-depth essay by curator Dena Beard.
For a complete checklist of the exhibition, click here.
For a video of the exhibition, click here.
Puls received her M.F.A. from Rhode Island School of Design. Her work is represented in numerous collections including the San Francisco Museum of Modern Art, the Oakland Museum, the Achenbach Foundation for Graphic Arts, and the Jewish Museum in New York. Puls is a Professor of Art at the University of California at Davis. She lives in Berkeley, California.
Exhibition dates: September 10 - October 25, 2015
Artist talk: Thursday, October 22, 2015, 6-9pm
$5 general, $3 students, free for members
Where:Verge Center for the Arts,625 S Street, Sacramento, 95811