APPALACH-WICK

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APPALACH-WICK
July 26 – Sept 7, 2014
Saturdays & Sundays | 12 – 6PM

16 Harrison Place, Brooklyn
(Near the Morgan Avenue L Train)

Participating Artists
Maya Meissner       Jackie Cantwell       Becky Chipkin
Alex Chipkin         Hazel Lee Santino       Kurt Stegar
Caitlin Dutton           Margot Bird        Casey Velasquez
Taro Masushio          Yan Giguere    Annabelle Weatherly

For ArtHelix’s second summer season of The Lot at 16 Harrison Place, we will continue to investigate, through visual and creative means, new ideas of artistic community. Appalach-wick is a light hearted play on the idea of a communal art space, here in Brooklyn, which both encourages and mimics the handcrafted art forms of rural appalachian America.

Like the culture of the Appalachian communities that found networks of independent craftspeople to support each other in hard times, Appalach-wick is built on the premise that emerging artists will need to become far more locally self-sustaining and self-actualizing even as the wired world opens up the theoretical possibility of a universal community without borders.

Furthermore, we recognize the essential role community plays in the success of not only the artist but also the art form itself. In addition to displaying the work and its process, Appalach-wick will serve as a sort of informal artisan’s guild, giving craftsmen the opportunity to share resources, materials and marketing opportunities with one another.

Over 6 weeks, The Lot at 16 Harrison Place will feature a group of like-minded local artists being asked to meet and create work in situ, but more importantly to talk to one another, sharing their own thoughts and fears, with the hope that new connections will arise and new models (and patterns) of behavior will emerge.

The event will host a dancer/choreographer, a sculptor, muralist, a poet, a photographer/blogger, and others who will create an experimental laboratory of 6 weekends from which a playful new concept of what “Bushwick” might mean someday will emerge.

Can artists be “forced” into meeting each other in a physical space in order to slowly reduce the alienation that comes from proximity, but no real contact?

Alain Kirili: Drawing in Space

Alain Kirili
Alain Kirili
Drawing in Space
May 30 – July 7, 2014
Curated by Bonnie Rychlak

299 Meserole Street, Brooklyn
(Near the Montrose Avenue L Train)

OPENING RECEPTION
Friday, May 30, 6-9PM

Music and Dance Performance by Daniel Carter and Leena Conquest
Saturday, May 31, 5PM

ArtHelix is pleased to announce our inaugural exhibition at our new space at 299 Meserole Street, featuring new sculptures and works on paper by Alain Kirili.

Alain Kirili has long been recognized for his forged iron abstract sculptures and for his large-scale public works. His sculptures underscore his interests in verticality and modeling, his practice emphasizes the “aesthetics of spontaneity,” and seeks formal unity through the variety of materials. Kirili is employed in a quest for “organic simplicity.” He has received considerable critical interest and his work has been the subject of numerous gallery and museum exhibitions in America and Europe. He lives and works in Paris and New York.

For more information on Alain Kirili and his work, please visit http://www.kirili.com.

Winter Laundry

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Winter Laundry
Michael McKeown
Curated by Bonnie Rychlak

16 Harrison Place, Brooklyn
(1 Block from the Morgan Ave. L Train)
Jan 25 – Mar 15, 2014
Sat – Sun 12-5 PM by appointment

In Northern England during the 1960s, Monday was washday. The drab back alleys festooned with drying laundry created line after line of billowing sails. The street was transformed, charged with the smells of soap and festival of sound. Geordie Foster, the one-armed coal deliveryman, made very few drops on Mondays, the back alleys made impassable by miles of laundry. This transfiguration of the back lots and alleys became a place to play, fuel for imaginations, space for adventure. A billowing pirate ship or arctic icebergs. It was only an alley but it was ours.

– Michael McKeown

[For appointments, access, and hours, contact Wilson Duggan at wilson.arthelix@gmail.com]

LOST OR NOT

Lost or Not

LOST OR NOT
Brian Gaman – John Monti – Jennie Nichols

16 Harrison Place, Brooklyn
(1 Block from the Morgan Ave. L Train)
Nov 15 – Dec 30, 2013
Sat – Sun 12-5 PM by appointment
contact wilson.arthelix@gmail.com for hours and appointments

OPENING RECEPTION
Friday, November 15th 6-9PM

The building is gone.  There are no shadows on the ones bordering east and west but you know there was something there, now gone for some time.  Buildings come and go.  The lot’s not far from the Williamsburg Houses of the late 1930’s – first called Ten Eyck Houses – then the Bushwick Houses of the 1960’s. Blanca’s is nearby. Reservations only and no cellphones or cameras in the restaurant please.  Then walk around at night and look at the lighted spaces of art studios.  In the daytime you can pass by low-rise warehouses or cement plants on the way to galleries close by.  Welcome to the subculture of art in vacant spaces in New York, shared, linked to, blogged, Facebooked and Instagramed.

Now leave the circulation of images for a while and think about other kinds of ghosts.  Who’s been here and what’s happened here and what’s happening here now?  At 16 Harrison Place there is work by three artists that might be about what’s covered and not covered, empty or not empty, lost or not.  John Monti and Jennie Nichols install works that would be containers of sorts on this lot that is also one.  Monti’s look ancient, like something from a culture distant in time and space that we can only imagine.  Nichols’ wax cabinets seem to be from a time and place we think we know, looking as if they might have been carried out of Cripplebush — Captain Kidd’s Williamsburg long ago.  Brian Gaman’s two works look likewise sort of antique and down at what might be underneath.  Here, wherever.  Coffee from Swallow, walk around more.

[Lost or Not is presented in association with Dietl International]

Closing Festivities @ The Flower Garden

We are pleased to announce two exciting events on Saturday October 26th and Sunday October 27th to close out our Flower Garden project.

The Garden Party
Saturday, OCT 26 @ 1PM
The Flower Garden at 16 Harrison Place
Organized by Maya Meissner

Featuring:

   Illustration Naked Party @ 1PM
Hosted by Hazel Lee Santino

   O My, O! @ 5PM
A play directed by Heather Morowitz

The Flower Garden Symposium
Sunday, OCT 27 @ 2PM
56 Bogart Street, 3rd Floor

A panel discussion and critique of Flower Garden, featuring:

Bonnie Rychlak
Martha Wilson
Joanna Isaak
Meenakshi Thirukode
Maureen Connor
Joanne Ross
Janet Goleas
Leonora Loeb
Hazel Lee Santino

The Reflektors @ 299Meserole

ArtHelix was beyond thrilled to host Arcade Fire (aka The Reflektors) at 299Meserole this weekend in support of their new album. A huge thank you the band, all the organizers, and especially the fans who came out to party. We had a blast.

Stay tuned for exciting news about what’s next for ArtHelix and 299Meserole.

Flower Garden

fgarden

FLOWER GARDEN
Sept 6 – Oct 30, 2013
16 Harrison Place, Bushwick
[at the Morgan Ave L Train]

Head Gardener: Amy Anthony
Symposium Curator: Bonnie Rychlak
Project Manager: Maya Meissner

Flower Garden begins as a playful re-imagining of the iconic work, Seed Bed, created and first performed by Vito Acconci at Sonnabend Gallery in New York City in January 1972.  Seed Bed was at once groundbreaking and notorious, as Acconci constructed a shallow wooden ramp inside the gallery and then lay hidden beneath it, masturbating for eight hours a day over a three week period to the sounds of gallery viewers walking above him, all the while accompanied by a low murmur of spoken sexual statements, declarations, and commands to the imagined “subjects” above. The performance and later video produced for the work represent a historical moment in performative “body art” and sexual theatre.

Flower Garden is constructed not as a critique (although it may contain “critiques”), but rather as a sculptural installation/digital video interface/symposium by a multi-generational group of female curators, artists, writers, and viewers, coming together as participants to reinterpret Acconci’s performance through a contemporary lens. Where Acconci represented the “seed” in his performance, the counterpoint here is the motif of the “garden,” the public or communal space where the “seeds” are made visible. Where Seed Bed was imagined as dark, hidden, and vaguely threatening, the Flower Garden is a shared space in the open sun, with a private component.

Over a three-week period from September 6th through October 30th, a walkable garden will be constructed that allows for the viewer to sit and relax in an open setting in Bushwick, the newest edge for the contemporary art scene. This installation/sculpture will also have another facet, its own “secret garden,” a private cabin designed for one woman at a time to recreate the masturbatory element of the original Seed Bed. The resulting coda is that this “private” moment thenproduces a flower to be planted by the participant, adding to the overall complexity of the shared space.

This is the discursive component that we envision can make the secret garden project a fully realized social event. The users of the cabin are pre-interviewed for a live link up to various social media sites to inquire (if desired) what thoughts or desires motivated them to seek out inclusion in this event. A second “post” interview follows (if desired), thus allowing the participant to reflect on their experience and to comment on their preconceptions. This video diary, as well as a guest book for participants’ signatures and comments, will serve as a permanent record for each flower planted in theFlower Garden.

Finally, a one-day symposium, organized by ArtHelix curator, Bonnie Rychlak, will be held on the last date of the event, engaging a group of the curators, artists and participants, thus completing the event with a critical discussion of the project.

Flower Garden is imagined as a deeply playful model for communal art engagement; public and private, open and closed, “sunny” and “dark” all at once.