©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.
Boris Ostrerov earned a BFA in Painting from the Milwaukee Institute of Art and Design and an MFA in Painting and
Drawing at the School of the Art Institute of Chicago in 2013. Upon graduation he was awarded the SAIC fellowship.
He has exhibited widely including showing at Paris London Hong Kong (PLHK) in Chicago, Tory Folliard, the Portrait
Society in Milwaukee and in Chicago's NEXT fair. He has been featured in several publications including New American
Paintings and the Milwaukee Journal Sentinel. Ostrerov's work was included in the New American Paintings
the Elmhurst Art Museum in 2016. Ostrerov currently lives and works in Chicago.
©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.