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OrtaWater-Fluvial-Intervention-Unit

Lucy + Jorge Orta, OrtaWater – Fluvial Intervention Unit, 2005

GALLERY CURRENTLY CLOSED FOR INSTALLATION-OPENING AUGUST 16th

Food – Water – Life / Lucy + Jorge Orta
August 16 – December 6, 2014
Press Release

This exhibition is the U.S. premiere of the Orta’s work, and was curated by Judith Hoos Fox and Ginger Gregg Duggan (c2 |curatorsquared) and organized by the Tufts University Art Gallery.
The sculptures, drawings, installations and video by this Paris-based wife and husband duo collectively explore major concerns that define the 21st century: biodiversity, environment, climate change and communication. At the same time, this work embodies the philosophy that steers their pioneering art practice, ‘the ethics of aesthetics.’ As heirs to the practice of social sculpture, formulated by Joseph Beuys in the 1960s, the Orta's works are relics of their own function—beguiling assemblages that are the platform for the preparation of food, mechanisms that actually purify water, and elements created for a 2007 expedition to Antarctica that are part of an effort to amend the 1948 Universal Declaration of Human Rights. The works in this exhibition are metaphors-in-action, constructions that perform the tasks of which they are emblematic.

These humorous, jerrybuilt contraptions are obviously not the most efficient means to purify, prepare and transport food and water, or to launch a world-wide humanitarian effort, but in their ability to actually function, albeit, awkwardly and haltingly, they gain power as works of art created to move us to awareness and action. The artists' unique visual language tackles the major global issues affecting our lives and the precarious position of this planet. As the Orta’s artwork communicates widely to audiences beyond the field of contemporary art, it demonstrates the importance of art as a creative agent for awareness and change.

Working in partnership since 2005, Lucy+Jorge Orta create, produce, and assemble their artworks and large installations together with a team of artists, designers, architects, and craftspeople. They stage on-location workshops, ephemeral interventions, residencies, and master classes, which explore the crucial themes of the contemporary world: the community, autonomy, dwelling, migration, sustainable development, and recycling. Their work has been the focus of important survey exhibitions in major museums, including the Barbican Art Gallery, London; Modern Art Museum, Paris; Museum of Contemporary Art, Sydney; Museum Boijmans Van Beuningen, Rotterdam; Hangar Bicocca, Milan; as well as the Venice, Havana, and Johannesburg Biennales.
 


Variations of a Whole install

Variations of a Whole

A group exhibition of student work from Otis College of Art and Design
June 28 - August 27, 2014
Opening Reception Saturday June 28, 4-6pm
With live music by The Small Steps, and a stencil workshop with Carol Zou celebrating Rosa Parks and transit-based activism
Press Release

Art school is a place where freedom of thought and self-expression flourish, where up-and-coming artists are given an opportunity to restructure codes and belief systems into their own culture. Variations of a Whole, curated by Otis alumna Jeseca Dawson (’12 Graduate Public Practice), combines the work of thirteen artists from both undergraduate and graduate programs in Fine Arts and Public Practice. The work is evidence of the students' exploration of ideas and materials, as well as their desire to manifest meaningful forms of self-expression.  It exemplifies artists in the process of finding their own voice as they investigate identity, experimentation, social responsibility, art theory and the tension between human and natural production.

Artists in the exhibition: William Jon Bengtson (BFA Fine Arts), Alexia E. Bernal (BFA Fine Arts), Corinne Bernard (BFA Fine Arts), Derek Corns (BFA Fine Arts), Sean Cully (MFA Fine Arts), Janet E. Dandridge (MFA Fine Arts), Víctor Albarracín Llanos (MFA Public Practice), Laura Lindlief (BFA Fine Arts), Chelsea McCarthy (BFA Fine Arts), Angelica Sanchez (BFA Fine Arts), Yasmin Than (MFA Fine Arts), Rachel Wolfe (MFA Fine Arts), Carol Zou (MFA Public Practice)

 




*Inside the Quad Billboard Project 2014
Freeway Studies #2 has commissioned three Inside the Quad artists to create billboards that are located near Otis: Juan Capistrán and Hazel Mandujano, Farrah Karapetian, and Joe Wolek. Billboard Project Artists sponsored by Summit Media LLC. Location map below.

Capistran and Mandujano

Juan Capistrán and Hazel Mandujano, ...my hobby is throwing stones (foolishness can move mountains), 2014
Artist Juan Capistrán and Graphic Designer Hazel Mandujano originally designed this image collaboratively as a takeaway for the exhibition What We Want, What We Believe: Towards A Higher Fidelity at University of Texas at Austin, 2014. A stack of 1,000 sheets of paper printed with a photograph of rock texture were installed on a customized platform, referencing the print installations of artist Felix Gonzales Torres. When crumpled up, the sheets transformed into "rocks." This physical rock then became a visual reference to a photograph of one of the rocks being held up, blocking a view of the former location of the Black Panther Party headquarters in Los Angeles. The viewer would experience the object they were holding as at once in their possession and on exhibit as the focus of the photograph.
                                            
Karapetian


Farrah Karapetian, Prone Position, 2013
Farrah Karapetian created the photogram, Prone Position, from a reenactment of the memory of a veteran, allowing the subject to be a part of the process of depicting his own experience of warfare. Karapetian explains, "In essence the process of reenactment in the darkroom makes present for all of the players a sense of who they have been, who they can be, who they want to be, and who they are. When I install these prints in response to architecture – a veteran lying prone on a billboard to take aim, for example – the imagery begins to make meaning in real space – the space we share with the men depicted and their memories.”
 

Wolek

Joe Wolek, Stadium Seats, 2012
In these pictures I honor specific landscape and documentary traditions by placing content front and center. What existed physically in the scene is why I made the photograph. What is referenced in the real world is that which I want the viewer to witness for interpretation.  They investigate a certain underbelly of society, alluding to the fall of the brief reign of middle class culture celebrated in America and attempt to expose myths of its nostalgically cherished integrity. I point my camera at boring sites, potentially called non- locations due to their strikingly commonplace, banal and sometimes clichéd environs that initially seem not worthy of investigation. However, rather than a single exposure for a straightforward representation of the site, I use multiple frames made from telephoto lenses that are merged together creating one singular picture that forms a panoramic vista but with a compressed and tightly cropped space. They seem natural but the field of view could not be made with conventional camera techniques thus playing disturbingly with notions of peripheral vision and depth perception…(Text taken from, “On the Beaten Track: Stratigraphy of the Vernacular” by Joe Wolek)

Billboard Locations
Green: Farrah Karapetian | Yellow: Juan Capistrán and Hazel Mandujano | Pink: Joe Wolek
(From May 19 - June 15 the billboards of Farrah Karapetian and Juan Capistrán & Hazel Mandujano will not be available to view)


View Billboard Locations "Inside the Quad" in a larger map