digital video, in collaboration with idontlikemondays.us
merge and print on 8.5"x11" acetate
THINGS THAT SHOULD OR WOULD OR SHOULDN'T
create a small crack on a stone
give a thrilling excuse
wave to a light source
draw a perfect line perfunctorily
find value in value
disallow said value
wallow in your disallow-ment / get a superiority complex and run with it to the department store
riff on current events
exchange undergarments instead of phone numbers
pretend it is 1969 and mourn the sudden loss of Sharon Tate
make every book a “choose your own adventure” book
decide to be a proto-feminist
experiment with dangerous drugs in front of toddlers
experiment with dangerous prefixes and suffixes in front of career students (i.e. say meta- a lot)
cold call phone sex hotlines asking for work unrelated to sex hotlines
adopt a new ethnic-stereotype driven persona
just get casual and wear sneakers to bed
throw up in french onion soup and declare it “one hundred percent perfection”
throw up in french onion soup, put on a fun wig, and call it a performance and then blame it on me
sign up for every single social networking website and cross-post over all of them daily with an uplifting message
buy a website domain URL that is vaguely antisemitic and create a website that is anti-Inuit (i.e. http://ihatejews.org ), let this be your personal website also
buy a lot of magazines and read them at whatever pace feels right for you
make a wax effigy of your favourite celebrity and wait until they are next on television and prick the left leg with a hot needle and see what happens
if you do any of these sorts of things, or don’t do them, or should do them, that would be a good thing and it would behoove you to record it in some way and send it to me.
xvalentine@gmail.com
create a small crack on a stone
give a thrilling excuse
wave to a light source
draw a perfect line perfunctorily
find value in value
disallow said value
wallow in your disallow-ment / get a superiority complex and run with it to the department store
riff on current events
exchange undergarments instead of phone numbers
pretend it is 1969 and mourn the sudden loss of Sharon Tate
make every book a “choose your own adventure” book
decide to be a proto-feminist
experiment with dangerous drugs in front of toddlers
experiment with dangerous prefixes and suffixes in front of career students (i.e. say meta- a lot)
cold call phone sex hotlines asking for work unrelated to sex hotlines
adopt a new ethnic-stereotype driven persona
just get casual and wear sneakers to bed
throw up in french onion soup and declare it “one hundred percent perfection”
throw up in french onion soup, put on a fun wig, and call it a performance and then blame it on me
sign up for every single social networking website and cross-post over all of them daily with an uplifting message
buy a website domain URL that is vaguely antisemitic and create a website that is anti-Inuit (i.e. http://ihatejews.org ), let this be your personal website also
buy a lot of magazines and read them at whatever pace feels right for you
make a wax effigy of your favourite celebrity and wait until they are next on television and prick the left leg with a hot needle and see what happens
if you do any of these sorts of things, or don’t do them, or should do them, that would be a good thing and it would behoove you to record it in some way and send it to me.
xvalentine@gmail.com
GOOD SISTER EVIL SISTER is a conceptual work exploring the themes of proto-computer technologies reinterpreted via modern tools cross bred aesthetically / compositionally with classical ideas of harmony and dissonance. Especially those in chamber music.
Through a variety of mediums, including digitally produced images, websites, music, and performance, I have attempted to exploit the so called "ying-yang" nature of good and evil, and the above mentioned harmony and dissonance; how one needs the other to survive.
video loop projection for G.S.E.S. performance #1 & URL
video loop projection for G.S.E.S. performance #2
http://good-sister-evil-sister.com
Through a variety of mediums, including digitally produced images, websites, music, and performance, I have attempted to exploit the so called "ying-yang" nature of good and evil, and the above mentioned harmony and dissonance; how one needs the other to survive.
video loop projection for G.S.E.S. performance #1 & URL
video loop projection for G.S.E.S. performance #2
http://good-sister-evil-sister.com
Digital video, animation, composites.
through these videos, I have explored composition and its relationship with a time based framework. Artificial lighting, computer generated effects, and general manipulation of time were the tools I used to create brief moments and illustrations of spaces in motion or in stasis.
What is our relationship with time and media, and what do we expect when we engage with the spaces these sources can create?
I aim to challenge traditional perceptions and perhaps highlight the inherent beauty of motion in time in a particularly abstract direction.
SHAPE / BACH INVENTION IN C MINOR
TABLEAUX VIVANT FOR BLEEDERS
GLASS CRACK IN A NEW PLACE
through these videos, I have explored composition and its relationship with a time based framework. Artificial lighting, computer generated effects, and general manipulation of time were the tools I used to create brief moments and illustrations of spaces in motion or in stasis.
What is our relationship with time and media, and what do we expect when we engage with the spaces these sources can create?
I aim to challenge traditional perceptions and perhaps highlight the inherent beauty of motion in time in a particularly abstract direction.
SHAPE / BACH INVENTION IN C MINOR
TABLEAUX VIVANT FOR BLEEDERS
GLASS CRACK IN A NEW PLACE
RYAN BUSH
Through a series of works, which started off as a birthday gift for a friend of mine, I found a lot of inspiration in craigslist posts and the parallels that can be drawn between casual sex and historic / traumatic moments.
both (depending on the person experiencing them) can be exhilarating, entertaining, and defeating, usually in one breath.
BYAN RUSH
4' x 3'
gouache, acrylic and flour on canvas board
OH BABY
digital composite with MATT UNDERWOOD :10 sec loop
(http://mattunderwood.com)
STATS AND WISHES
HD digital video: 6:26 min
RYAN BUSH BYAN RUSH by Ʌ ARC
Through a series of works, which started off as a birthday gift for a friend of mine, I found a lot of inspiration in craigslist posts and the parallels that can be drawn between casual sex and historic / traumatic moments.
both (depending on the person experiencing them) can be exhilarating, entertaining, and defeating, usually in one breath.
BYAN RUSH
4' x 3'
gouache, acrylic and flour on canvas board
OH BABY
digital composite with MATT UNDERWOOD :10 sec loop
(http://mattunderwood.com)
STATS AND WISHES
HD digital video: 6:26 min
For http://ryandbush.com
birthday ~~
RYAN BUSH BYAN RUSH by Ʌ ARC
LIST OF WORKS:
ATLAS
latex paint 15'x60'
2011
THE RISER I-IV
plaster, ink
dimensions variable
2011
SNAP THIS QUIET SNAP
digital print on silk chiffon
3'x3'
2011
THE MOTION OF GILDED MOMENTS
digital videos and composites
total time 43 minutes
2009-2011
PRESS RELEASE
R.K. PROJECTS was invited in early spring of this year by the committee of the Granoff Center for Creative Arts at Brown University to propose a curatorial project for the Cohen Gallery, an exhibition space situated at the entryway façade of the new interdisciplinary arts center. The project, which was planned as a minimally designed presentation of a significant and prolific Providence-based performance artist and musician: X.V. / Ʌ, turned into a 6-month long process of readings, discussions and experiments geared toward understanding the site-specificity of a DIY, nomadic exhibition project situated within an institutional setting, and how such an inextricable relationship could reconfigure, highlight, challenge, or relocate meaning from within the exhibited work to the contingencies of its context.
R.K. Projects, in collaboration with X.V. / Ʌ, will be presenting ATLAS in the hope of producing an experiential understanding of the site through hermetic material investigations; utilizing a framework of ideas regarding ‘neutrality’ - a classically amorphous concept - as a vantage point from which to reconsider the suspension between two polar opposites as something more momentous than often assumed. Through various media, we attempt to translate this concept, illustrating the infinite and ultimately paradoxical nature of a narrow and subtle mode of being.
The two videos and digital prints to be displayed, titled, Earth, Motion of Gilded Moments, and Snap This Quiet Snap are totemic responses to systems of physics in suspense. Earth is edited stock footage of high speed camera tests slowed down 300%, while Motion of Gilded Moments is a digital seascape in perpetual motion, where each minute passing is a reduction of one hour of real time; as the scene gradually shifts in tone, a human figure floats suspended and independent from gravity at the apex of a jump.
In response to the prominent architectural design elements of the Granoff building, particularly the verticality of its intentional misalignment and the pleated, gray zinc panels wrapping the building, we utilized vertical and horizontal black-to-white gradients at varying scales as the visual mainstay of the exhibition in order to emphasize the distorted depth perception those distinct architectural elements create in both the exterior and the interior of the building. On the main wall of the Cohen Gallery, is a hand-painted mural of a vertical black to white gradient, spanning the entirety of its 60’ x 20’ dimensions. Situated at varying distances from the main wall are four cast-plaster pillars, each created specifically with a 4” x 4” footprint and dip-dyed with a horizontal black to white gradient, their heights increasing from one to six feet.
Brown University states the purpose of the Perry and Marty Granoff Center for the Creative Arts is “to advance innovative directions for research, teaching, and production across the boundaries of individual arts disciplines.” R.K. Projects hopes this exhibition will serve as an exemplary role of such a broad spectrum of possibilities and innovations for new approaches to collaborative work between artists and curators, between independent galleries and institutions, between academia and its regional context.
The opening reception will take place at the Cohen Gallery on Saturday, November 5th from 6pm to 9pm. During the installation process, one week prior to the opening, a live video feed will be on display and viewable to the public outside of the Cohen Gallery documenting our preparations for the exhibition. This will be R.K. Projects last exhibition of the year.
.
R.K. Projects is an experimental exhibition platform that began in October 2010 as a solution for the lack of visibility for local artists. Our ideology is based on a nomadic exhibition model that engages the public through interventions on vacant commercial and industrial spaces by artists working to build an alternative system for exhibiting work. By functioning as a gallery without a fixed location, we are able to focus on selecting artists and curating exhibitions that are tailored to a specific location, and exhibit work that is experimental, conceptual, or otherwise non-commodifiable. We also are committed to the awareness and revitalization of vacant and under-recognized spaces; we believe that by drawing positive attention to the abundant amount of vacant commercial and industrial space, we may influence the public in realizing a sustainable use for such spaces.
R.K. Projects was named in memoriam of Richard Keller, an American outsider artist who expatriated to France in the 1960’s in order to pursue his interests in art and linguistics. Images of his work can be found on our website.
http://rkprojects.com
any inquiries should be directed to Sam Keller & Tabitha Piseno of R.K. Projects at
rk.projects.editions@gmail.com
ATLAS
latex paint 15'x60'
2011
THE RISER I-IV
plaster, ink
dimensions variable
2011
SNAP THIS QUIET SNAP
digital print on silk chiffon
3'x3'
2011
THE MOTION OF GILDED MOMENTS
digital videos and composites
total time 43 minutes
2009-2011
PRESS RELEASE
R.K. PROJECTS was invited in early spring of this year by the committee of the Granoff Center for Creative Arts at Brown University to propose a curatorial project for the Cohen Gallery, an exhibition space situated at the entryway façade of the new interdisciplinary arts center. The project, which was planned as a minimally designed presentation of a significant and prolific Providence-based performance artist and musician: X.V. / Ʌ, turned into a 6-month long process of readings, discussions and experiments geared toward understanding the site-specificity of a DIY, nomadic exhibition project situated within an institutional setting, and how such an inextricable relationship could reconfigure, highlight, challenge, or relocate meaning from within the exhibited work to the contingencies of its context.
R.K. Projects, in collaboration with X.V. / Ʌ, will be presenting ATLAS in the hope of producing an experiential understanding of the site through hermetic material investigations; utilizing a framework of ideas regarding ‘neutrality’ - a classically amorphous concept - as a vantage point from which to reconsider the suspension between two polar opposites as something more momentous than often assumed. Through various media, we attempt to translate this concept, illustrating the infinite and ultimately paradoxical nature of a narrow and subtle mode of being.
The two videos and digital prints to be displayed, titled, Earth, Motion of Gilded Moments, and Snap This Quiet Snap are totemic responses to systems of physics in suspense. Earth is edited stock footage of high speed camera tests slowed down 300%, while Motion of Gilded Moments is a digital seascape in perpetual motion, where each minute passing is a reduction of one hour of real time; as the scene gradually shifts in tone, a human figure floats suspended and independent from gravity at the apex of a jump.
In response to the prominent architectural design elements of the Granoff building, particularly the verticality of its intentional misalignment and the pleated, gray zinc panels wrapping the building, we utilized vertical and horizontal black-to-white gradients at varying scales as the visual mainstay of the exhibition in order to emphasize the distorted depth perception those distinct architectural elements create in both the exterior and the interior of the building. On the main wall of the Cohen Gallery, is a hand-painted mural of a vertical black to white gradient, spanning the entirety of its 60’ x 20’ dimensions. Situated at varying distances from the main wall are four cast-plaster pillars, each created specifically with a 4” x 4” footprint and dip-dyed with a horizontal black to white gradient, their heights increasing from one to six feet.
Brown University states the purpose of the Perry and Marty Granoff Center for the Creative Arts is “to advance innovative directions for research, teaching, and production across the boundaries of individual arts disciplines.” R.K. Projects hopes this exhibition will serve as an exemplary role of such a broad spectrum of possibilities and innovations for new approaches to collaborative work between artists and curators, between independent galleries and institutions, between academia and its regional context.
The opening reception will take place at the Cohen Gallery on Saturday, November 5th from 6pm to 9pm. During the installation process, one week prior to the opening, a live video feed will be on display and viewable to the public outside of the Cohen Gallery documenting our preparations for the exhibition. This will be R.K. Projects last exhibition of the year.
.
R.K. Projects is an experimental exhibition platform that began in October 2010 as a solution for the lack of visibility for local artists. Our ideology is based on a nomadic exhibition model that engages the public through interventions on vacant commercial and industrial spaces by artists working to build an alternative system for exhibiting work. By functioning as a gallery without a fixed location, we are able to focus on selecting artists and curating exhibitions that are tailored to a specific location, and exhibit work that is experimental, conceptual, or otherwise non-commodifiable. We also are committed to the awareness and revitalization of vacant and under-recognized spaces; we believe that by drawing positive attention to the abundant amount of vacant commercial and industrial space, we may influence the public in realizing a sustainable use for such spaces.
R.K. Projects was named in memoriam of Richard Keller, an American outsider artist who expatriated to France in the 1960’s in order to pursue his interests in art and linguistics. Images of his work can be found on our website.
http://rkprojects.com
any inquiries should be directed to Sam Keller & Tabitha Piseno of R.K. Projects at
rk.projects.editions@gmail.com
EXILIUM ATLANTIS is a video projection and accompanying performance that explores classical uptopias and their inevitable collapse, leaving monuments of mythology, lore, and sometimes, even tangible imprints of their existence.
What does this mean for our current generation of creative minds? Armed with laptops, blogging and social networks, utopias can be created not only to inhabit and explore, but to destroy. Now, like no other time, we can play God and exile people out of our respective Edens.
The video portion of EXILIUM ATLANTIS features home-video of a married couple's view from their cabin on a cruise, where a tumultuous mid-ocean squall has turned their private (and, simultaneously broadcast via youtube) reprieve into a moment of chaos. Overlayed over this video are two images of Grecian colonnades, creating a window of anachronism, and referencing Atlantis, the famed utopia that the Atlantic Ocean swallowed.
The performance accompaniment involves an actor eating 7 red apples, one for each day of God's creation of Eden. Presumably, after eating 7 apples, the actor would feel ill, embodying in another way the inevitable: utopia is impossible.
PLEXIGLASS CHEVRON, GAUSS MAGNET LOOP / SURVEILLANCE
NEW CONSTELLATIONS FOR ANNA RUBIN
What does this mean for our current generation of creative minds? Armed with laptops, blogging and social networks, utopias can be created not only to inhabit and explore, but to destroy. Now, like no other time, we can play God and exile people out of our respective Edens.
The video portion of EXILIUM ATLANTIS features home-video of a married couple's view from their cabin on a cruise, where a tumultuous mid-ocean squall has turned their private (and, simultaneously broadcast via youtube) reprieve into a moment of chaos. Overlayed over this video are two images of Grecian colonnades, creating a window of anachronism, and referencing Atlantis, the famed utopia that the Atlantic Ocean swallowed.
The performance accompaniment involves an actor eating 7 red apples, one for each day of God's creation of Eden. Presumably, after eating 7 apples, the actor would feel ill, embodying in another way the inevitable: utopia is impossible.
PLEXIGLASS CHEVRON, GAUSS MAGNET LOOP / SURVEILLANCE
NEW CONSTELLATIONS FOR ANNA RUBIN
BLUE GRENADE
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