©Amy Ruhl, Between Tin Men: Gifts and Souvenirs
, 2016-2017. Single-channel video, hanging mirror, electronics, display glass vitrine, repurposed antique ceramics. Dimensions variable. Courtesy of the artist.
July 2 - August 13, 2017: Amy Ruhl: Between Tin Men: Gifts and Souvenirs at Lubov, 373 Broadway, #207, New York, NY
Opening reception: Sunday July 2, 6-9 pm
Occupying the world of L. Frank Baum's The Wonderful Wizard of Oz
and its myriad sequels, Amy Ruhl's Between Tin Men
reanimates the fairy tale with the narratives of radical feminism, Marxism, and modern love. Manifesting variously as performance, installation, and video, Between Tin Men
follows the ongoing story of Nimmie Amee – a minor character in Baum's bewitching universe – and her infatuation with a Tin Man who has already lost his heart to another metal lover.
For this exhibition, Between Tin Men: Gifts and Souvenirs
, Ruhl charms life into the various trophies of her adventures through Oz, turning the gallery into a shop that exists in direct opposition to its Disney counterpart. From a magic mirror, the female protagonists of Between Tin Men
protest their entrapment in the commercial space of the gallery, violently rebuffing their status as art and as objects of desire. To the side, caught on the smaller stage of the cabinet display, these same faces are frozen in the enamel of collector's plates, packaged for purchase. Arranged like token keepsakes, these characters are made object in a way that both flattens and elucidates the ways in which they were already flat. Despite Jinjur's forcefulness and Polychrome's flamboyance, the reductive materialization of these characters poses subtle questions about the role of consumption in the construction of identity. Fluidly translating Nimmie Amee's devotion to the Tin Man onto the viewer's covetous desire for the objects in the store, Ruhl suggests that, whether sexual or material, desire seeks to fill an absence, to reach for a state of wholeness. Denying us the satisfaction of easy possession, Ruhl presents us with objects already full of personality; these plates are not leather jackets or ostentatious handbags but are fully-fleshed identities with histories of their own. Ruhl invites you to try a type with no promises that its features will slip easily into your own.
– Nicole Kaack
©Luba Drozd, Soon enough roads will be rivers
, 2017. 2-channel video, piano strings, custom software, electronics, architectural vellum screens, acetate film screens, 3D printed porcelain. Dimensions variable. Courtesy of the artist.
March 24 - April 30, 2017: Luba Drozd: Soon enough roads will be rivers at Lubov, 373 Broadway, #207, New York, NY
Opening reception: Saturday May 20, 6-9 pm
Luba Drozd illuminates the materiality of projected light. Shimmering ultra-thin planes of transparent acetate, vellum and white paper measure the imperceptible thickness of a room as well as framing the inaudible spatial acoustics within it. A piano string reverberates in a corner while pictorial planes are bounced, refracted and interrupted by our own bodies. Trapezoidal shards of light shift as both figure and ground, inside and outside, articulating flatness and perspectival depth. This slippery perceptual condition is one that reveals itself slowly over time, yet one that resists gestalt cohesion.
Indeed for Luba Drozd, it is the effervescent surface conditions of projected light that encourage a persistence of vision. Unveiling the inherent illusionism of cinematic light, Drozd's surfaces cast shadows of doubt that offer suggestions without conclusions, and narratives without plots. Destabilizing normative uses of one-directional cinematic projection, she mobilizes the viewer through an unfolding array of multiple perspectives6–an immersive tableau where linear filmic sequence is exploded.
Within the field of the projector's throw, she creates an ineffable space somewhere between the real and the virtual, where invisible weapons are momentarily made visible. While animated objects move against the weightlessness of four-dimensional space-time, we are confronted not only by our own shadows but also by the gravity and density of our own bodies. As we move across and rupture this planar loop Drozd seems to remind us–in uncompromising Friedian theatricality–of the transparent systems of surveillance through which our bodies are implicated in daily. A machine for seeing that modifies perception1
, the projector displays, but it also shoots. – Alan Ruiz
1Virilio, Paul, and Patrick Camiller. War and Cinema: The Logistics of Perception. London: Verso, 1984.
©Katrina Fimmel, Lime,
2017. Watercolor, marker, gouache, acrylic on canvas. Courtesy of the artist.
March 24 - April 30, 2017: Katrina Fimmel: Cirrus at Lubov, 373 Broadway, #207, New York, NY
Opening reception: Friday March 24, 6-9 pm
The impressions of the first moments are–recordings to me: of sparkling, trembling pulses; and the recordings–form images; in the imaginings arise–whatever it is; it is imaged; imaginings are–forms. Imagining changes all for me.
— Andrei Bely, Kotik Lataev
Katrina Fimmel's works on canvas shimmer like heat on a horizon. Figures, objects, words, and spatial planes layer to produce a depiction of impossible depth on a supposedly two-dimensional surface. Fimmel compresses space to create the illusion of it.
Fimmel distorts the images she chooses from the never-ending deluge of content flooding the screens we live with. Faces stretch out like they're receding into the distance. Bodies forfeit their solidity and become incomplete circuits open to being penetrated by any nearby word or cloud. Everything floats in the same medium, connected yet discrete, like organisms in water. Fimmel creates images by washing them away. Marks made with watercolor pens are rinsed (in her shower) to the limits of their existence, then the process repeats.
The result is a mutant space in which Fimmel embraces her distrust of images and tricks them into becoming the lies they tell. Information, especially images on the Internet, are not beholden to any static truths. Fimmel both exploits and honors the absurd and infinite possibility of the world we have created for ourselves. — Amelia Rina
©Cristina de Miguel, Middle Finger Salute,
2016. Acrylic, flashe, spray paint and oil pastel on canvas. Courtesy of the artist.
January 22 - February 26, 2017: Hard Cry at Lubov, 373 Broadway, #207, New York, NY
Opening reception: Sunday January 22, 6-9 pm
Curated by Gabriel H. Sanchez
"And perhaps in this is the whole difference; perhaps all the wisdom, and all truth, and all sincerity, are just compressed into that inappreciable moment of time in which we step over the threshold of the invisible."
— Joseph Conrad, Heart of Darkness
Lubov is pleased to present Hard Cry
, curated by Gabriel H. Sanchez, which brings together a group of five NYC-based artists – Ian Swanson, Cristina de Miguel, Tariku Shiferaw, Ryan Oskin, and Kyle Haddad Welch – whose works of painting, photography, and installation, revel in the emotional sludge of contemporary living to create deeply psychological gestures of anxiety and fatigue. Hard Cry
responds to the exhaustive stimuli we experience each day and highlights progressive strides in art among New York City artists, bridging the gap between what is internalized and what is visible.
It goes without saying that anxiety permeates throughout every aspect of contemporary life – in the choices we make and lives we lead both digitally and IRL, amid the company of megalomaniac politicians and nationalist bigotry, the continuous onslaught of new and obsolete technologies, and most profoundly, amid our social networks of friends, family, and strangers. More than ever, art's inherent ability for cathartic release finds itself vital to the well being, perhaps even sanity, of social order.
©Boris Ostrerov, Untitled
, 2016. Oil on canvas on panel. 17 x 21 x 7 inches. Courtesy of the artist.
November 12, 2016 - January 8, 2017: Boris Ostrerov at Lubov, 373 Broadway, #207, New York, NY
Opening reception: Saturday November 12, 6-9 pm
For its inauguration, Lubov is pleased to present the first solo exhibition in New York of Chicago-based artist Boris
Ostrerov. Rooted in abstract expressionist painting, and utilizing copious amounts of oil paint applied by squeezing
it through cake-decorating bags, the works become expressions of libidinal energy, ornamentation
and excessive production. The pieces in the exhibition simultaneously function as sculptural objects and paintings,
investigating the physical and illusionistic potential of painting. They acquire a robust, visceral and grotesque
presence; with moments where the paint's physicality succumbs to the force of gravity. Ostrerov's work mirrors our
culture's obsession with indulgence, accumulation and pleasure, and unapologetically celebrates the possibilities that
emerge from it.
©Ryan Duffin, Figure_Fuel
, 2016. Archival pigment print with laser engraved acrylic. Courtesy of the artist.
August 24, 2016, 6:30-9pm: Nonspace at Recess, 41 Grand St, New York, NY
Curated and organized by Gabriel H. Sanchez and Francisco Correa Cordero
"Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data."
— William Gibson, Neuromancer.
In 1984, William Gibson's seminal work of science fiction, Neuromancer
, illustrated a neon reality in which cyberspace mirrors the tangible world; a place where e-commerce is as physically accessible as a bodega, fashions arrive and fizzle in the blink of eye, and digital information is supreme currency. The novel, written more than half a decade before English scientist Tim Berners-Lee invented the World Wide Web, stands as a prophetic echo of today's Internet users and the graphic window of data that they experience the world each day.
, curated by Francisco Correa Cordero and Gabriel H. Sanchez, brings together seven artists — Daniel Gordon, Dina Kelberman, Craig Callison, Zoe Burnett, Ryan Duffin, Qiren Hu and A. Bill Miller — whose work fringes on that of science fiction. Experiments in 3D rendering, virtual reality, and data manipulation are firmly positioned between lowbrow and high-tech, molding socialweb vernacular into expressions of anxiety, disenchantment and divination. Comparable to Gibson's anticipation of the socialweb, each artist here embraces the digital nonspace for its expressive value in anticipation of what comes next.
©Elizabeth McAlpine, Prelude (found scores)
(detail), 2015. 80 35mm slides, found 35mm moving image footage. Courtesy of the artist, Laura Bartlett Gallery, London/Laurel Gitlen, New York.
October 17 - November 15, 2015: Double Vision at Silver Projects, 796 Broadway, 3rd fl, Brooklyn, NY
Opening reception: Saturday October 17, 7-9 pm
Organized by Francisco Correa Cordero and James Reeder
Silver Projects is pleased to present Double Vision
, an exhibition featuring new work by Eric Cahan, Elizabeth McAlpine, and Liz Nielsen with Carolina Wheat.
For Double Vision
, the organizers asked three artists who constantly challenge the photographic medium and its materials, to create work specifically for the slide projector. Taking advantage of the sound, visual and quasi-filmic qualities of the device, as well as its potential for narrative, each presents their work using an entire carousel of 80 slides which repeats itself after each cycle.
The exhibition examines the mechanical peculiarities of pre-cinematic devices without reveling in nostalgia. The slide projector, once commonly found in households and academic institutions; and image projections, a display method that predates any photographic process and that constantly endures through time with its prevalence in new media, installation and performance art because of its ability to transform space. The end result are three independent experiments on sequence, light in space and light on film.
©Ishu Han, Breathing
(still), 2012. 17:07 min. Courtesy of the artist.
May 5, 2015: Transferred Presence at Residency Unlimited, 360 Court Street, Brooklyn, NY
Curated by Francisco Correa Cordero
will be an evening of video work and a panel discussion with the purpose of addressing the relevance of the artists' body and the potential disappearance of their physicality with the constant advent of new virtual ways of interacting with the environment. The presenting artists have focused their careers on manipulating technology and using systematic research methods to approach social and political concerns. RU resident artists Ishu Han, Alice Miceli and Ignacio Tejedor will display their work followed by a discussion moderated by media theorist PhD Song Tae Chong with panelists Suzanne Anker, Paul Catanese, Mostafa Heddaya and Bryan Zanisnik.
©Meredyth Sparks, The Slits/Cut
, 2011. Digital scan mounted to Sintra, 43 x 32.5 inches. Courtesy of the artist.
November 18, 2014: Lucid Methods at Elizabeth Foundation for the Arts, 323 W 39th St, New York, NY
Organized by Francisco Correa Cordero
will bring together a group of artists, curators and writers for an informal discussion about images from the perspective of image-making and picture-taking. Speakers will talk about the relevance of image-production in a culture already saturated with photographs, image appropriation and other cannibalistic practices and the inherent capacity of the medium to advance itself. Moderated by artist and writer Gabriel H. Sanchez, the panel will include Meredyth Sparks (artist), Sophie M?rner (publisher, Capricious), Walker Waugh (director, Yancey Richardson Gallery) and Peter Scott (curator and director, Carriage Trade).
©Fern Silva, Passage Upon the Plume
(still), 2011. Courtesy of the artist.
March 6, 2014: Current Conditions at apexart, 291 Church St, New York, NY
Organized by Francisco Correa Cordero and Luba Drozd
Works by Greta Alfaro, Luba Drozd, Valie Export, Ragnheiður Gestsdóttir, László Moholy-Nagy, James Nares, Ben Rivers, Fern Silva
will an evening of screenings curated around central themes of space and boundaries. The artists take as main concerns the fallacy of physical and mental limits to contain the many itinerations of people and their societies, ideologies and ambitions.
Frequent themes and subjects such as terrain, motion and weight are used to interpret the various renditions of the politics that continuously shape and govern our surroundings. The films represent a calm and meditative approach used by the artists to study and comment on the peculiarities, discrepancies and contradictions of structures imposed by culture upon itself.