Željka Blakšić, Sara Mejia Kriendler, Amanda Turner Pohan, and Claudia Sohrens
A.I.R. GALLERY | House 5B in Nolan Park
For immediate release
Željka Blakšić, Sara Mejia Kriendler, Amanda Turner Pohan, Claudia Sohrens
July 24 - August 23, 2015
Fridays, Saturdays, and Sundays from 12-5pm
House 5B in Nolan Park, Governors Island
This summer on Governors Island A.I.R. Gallery will host exhibitions at House 5B in Nolan Park. Fellows from the 2014-15 cycle will present in a group exhibition titled Enduring Ephemera. Work by Željka Blakšić aka Gita Blak, Sara Mejia Kriendler, Amanda Turner Pohan, and Claudia Sohrens will be on view through Sunday August 23, 2015.
"Papering Our Cage” by Sara Mejia Kriendler is a wallpaper installation composed of graphite rubbings on graph paper. The installation covers the walls of one room with rubbings of crown moldings, plasterwork, ornate frames, and objects –the elements that may have filled the walls of an officer's house around 1820. The frames are filled with landscapes and portraits. The scenes are composed entirely of rubbings from found textures: a Barbie doll, an eagle pendant, a Pepsi crate, the shapes on the bottom of a shoe. This installation uses the textures of our most common products to explore the space between drawing and sculpture, to look at how we embellish our environment, and to examine the patterns of our consumer culture.
Amanda Turner Pohan’s work includes sculpture and text. In one of the galleries stands a five foot sculpture made of two sensor–driven automatic soap dispenser faucets facing each other. They are filled with two different custom–made fluids. When approached, the viewer may collect the fluids into their hands, or let them release into the basin that the faucets stand in. The formula for the scents of the two liquids are based upon the ratios of breath, body heat, and sweat released from the bodies of two lovers recorded by sensors. A staggered poem in vinyl lettering is adhered to several walls of the first floor galleries, surrounding the sculpture. One excerpt positioned across from the sculpture reads, “empty the emotion of your face”.
“Clearing Agent”, a video by Željka Blakšić examines the book—Burlington (Iowa) “Once Upon The Time” by Dan Bield that was purchased along with a slide collection from E-Bay. The subtitle of the book—A collection of Nostalgic Pictures and other Memorabilia about the Author's Home Town—succinctly gives an explanation of the subject matter. A product of nearly 50 years of living in Burlington, Iowa, this volume is a collection of mostly factual stories and photo- graphs. Through her research, Blakšić finds out that Dan had a desire to excel in everything; his painting and writing, and his interest in jazz, were monumental. Blakšić reanimates Dan Bield‘s photographic slides and brings new infor- mation to archival materials from half a century ago. The artist acts as an alchemist, carefully reworking each slide with a diverse array of tools. The slides are subjected to various processes such as burning, cutting, bleaching, collage and painting. Blakšić then digitizes each reworked slide, scripting a sequence of scenes into a montage of moving images.
Employing media such as the book, the archive, video, and photography, Claudia Sohrens looks at the fetish of the archival object and archival consciousness. Drawing from archives and producing them at the same time, she investi- gates the unreliability and subjectivity of the archiving process. Her work expands the notion of the artist as research- er, archivist, producer and circulator, and adheres to principles of cultural activism. Based on the abundance of hicko- ry, oak, and chestnut trees the original name of Governors Island was “Paggank“ or “Island of Nuts“. Sohrens decided to install her work “Acorns” on the first floor of House 5B in Nolan Park. Over a period of 5 years (from 2002 – 2007) Sohrens’ obsessive collecting of acorns led to the production of a series of video portraits of women. The stillness that each video required of the sitter is reminiscent of historical portraiture in painting and photography. However, the expectation for film’s narrative continuity is destroyed—what remains is a minimal narrative suitable to a catalog, and an appeal for stillness. The distance between spectator and video reinforces the fine line between looking and staring –a steady hum and the patient transcription of the surface. On the first weekend of August Sohrens will re-enact the process in order to produce a series of new videos.
For all press inquiries, please contact; JoAnne McFarland, Director of Exhibitions & Operations.
Fri - Sun 12:00 PM - 5:00 PM