October 5, 2013
This fall, Daniel Fox and I will be presenting The François Vase, our latest collaboration.
Performances are free, but seating is limited at both venues.
To ensure a seat, email your RSVP to francoisvase(at)gmail(dot)com with your name, number of seats (up to four) and desired venue (Philadelphia or Brooklyn).
The François Vase is a collaboration between composer Daniel Fox and visual artist Gabriela Vainsencher which re-tells the Greek myth of the labyrinth from the Minotaur’s perspective. The video features Green Chair Dance Group and the score will be performed live by the Momenta Quartet. Cinematography and editing by Dave Jannetta.
The François Vase will premiere in Philadelphia, and will be preceded by a solo violin performance by Noco Kawamura. The Brooklyn performance will be preceded by a short lecture by recent Guggenheim Fellow art historian Guy Hedreen on the actual François Vase.
May 8, 2013
I will be participating in the 2013 edition of the Fresh Paint art fair n Tel Aviv, in the “Artists Greenhouse” section.
Fresh Paint 6 and the 1st Fresh Design will be held at the new logistic center of Tel Aviv municipality.
48 Tel Giborim st. South Tel Aviv
Opening Hours: Tuesday, May 21, 17:00 – 22:00 From 20:00 Artists Party / Wednesday, May 22, 17:00 – 22:00 / Thursday, May 23, 17:00 – 22:00 / Friday, May 24, 10:00 – 18:00 / Saturday, May 25, 10:00 – 22:00. Last admission 30 minutes before closing!
May 8, 2013
Opening Reception: May 10th 7-9pm
May 10th – June 19th 2013
Eve Bailey, Rachel Bernstein, Ryan V Brennan, Diana Heise, Roxanne Jackson, Coralina Meyer, Sono Osato, Malingering Uvula (Camilla Ha and Michael Merck) Gabriela Vainsencher.
Curated by Sarah Walko
December 17, 2012
Gabriela Vainsencher presented her new video “Reconstruction” at the MuMa alongside a paper sculpture installation. The works were made as part of a three-month residency in Le Havre, sponsored by Triangle Arts Association, the city of Le Havre, and the French Institute. Reconstruction tells the story of Le Havre, which was destroyed by the allied forces in 1944 in order to liberate it from German occupation, but it also tells another story of a city, eerily similar to Le Havre, which was destroyed by the moon.
September 11, 2012
“Codex Dynamic” is a publicly presented video projection exhibition, taking place during the 2012 Dumbo Arts Festival. Comprised of an international cast of artists and covering 33,000+ sq. ft. (3,065 sq. meters) of the Manhattan Bridge Anchorage, Archway and the adjacent cityscape, the exhibition will employ the latest in video mapping technologies.
Curated by Leo Kuelbs and John Ensor Parker, “Codex Dynamic” considers man’s evolving relationship with time and space. The roots of which, are based on our interactions with the natural world, from developing ancient calendars based on cycles of the sun and moon, to Quantum Mechanical theories and observations.
Two artists’ collectives will create 3D video-mapped works covering the surface of the Manhattan Bridge’s East Anchorage elevation and the interior of the Archway. The majority of the single-channel works will appear within the Archway, while “Isolation Tank” by Gary Hill will be seen on an adjacent architectural surface at Water St. & Jay St.
Participating artists include:
Glowing Bulbs + John Ensor Parker
Enid Baxter Blader
Sarah Walko + Malado Baldwin
Marina Zurko + Daniel Shiffman
Copyright © 2012. All Rights Reserved.
May 14, 2012
בבוקר ה-22 בינואר 2008 התעוררה גבריאלה וויינשנקר בדירת השותפים שבה גרה בברוקלין וציירה ציור. היא סרקה אותו והעלתה את הדימוי לאתר האינטרנט שלה. למחרת עשתה זאת שוב, וביום למחרת – שוב. כך החלה הסדרה Morning Drawings – ציורי בוקר, הממשיכה עד היום ומוצגת כעת ביריד צבע טרי. בעיני וויינשנקר דומה הדבר לסיפור קצר או שירה, אפיזודה יומיומית המתקיימת לרגע וממשיכה להתקיים.
April 28, 2012
Don’t Have No Colleague :
April 27, 2012
I have updated the website, click here to view pictures of the event at the Phaidon headquarters in Soho and hi-res images of the map I gave away as part of the performance.
March 27, 2012
“Legends of Heartbreak and Epiphany in Tel Aviv” is a new map of the city that I’m drawing as an artist project sponsored by Artis. Instead of shops and cafes, I am marking emotional experiences in the city. Go to the blog to share yours (anonymously) by April 4th, to have it included in the map!
February 10, 2012
Ophir Agassi, Beatriz Barral, Virginie Barré
|February 10 – 26, 2012|
WNTRSLN#2 is the second ‘Winter Salon’ show at Parker’s Box, featuring selected works by gallery artists and special guests. As we head into the deepest part of winter with undoubtedly the coldest days of 2012 ahead of us, (before the Spring madness of the Armory Show and Volta), this exhibition offers diverse inspiration from a motley crew of committed and exciting artists. From established favorites to new discoveries in terms of both practices and artists, this winter exhibition should be one to warm the cockles and tickle the fancy, while stimulating the intellect with the innovatory approach and pioneering spirit that we can expect from all of these artists.
Morning Drawing, February 3 2012, currently on view at Parker’s Box.
February 1, 2012
Opening Reception: Saturday, February 11, 7-10 pm
Art is a gift. This winter the 20 artists of Dona Nobis have probed the gift dimension of the work of art—the idea that seems to come from somewhere beyond the artist, the value of the work that escapes the valuation of the market, the communities art builds through viewership and circulation, and the world of exchange between artists themselves. These works count the uncountable boon, that work in the space between creation and charity, that look for no return but spirit. We seek to build the thing with no name.
On February 11, Concrete Utopia opens its winter group show Dona Nobis, and exhibition that features paintings, sculpture, electronic installation, and photography from:
John Krauss, David Brooks, Alexis Neider, Bill Liebeskind, Shana Moulton, Grayson Cox, Jeremy Sheaffer, Mara Sprafkin, Lane Sell, Paloma Crousillat, Emily Weiner, Nancy Woods, Jacqui LeBoutillier, Jesse Weiss, Theresa Himmer, Nate Flagg, Allison Halff, Erich Erving, Becky Hersch, Gabriela Vainsencher
Participating artists have spent time in each other’s working environments to produce examinations of one another’s work, published in our accompanying catalog.
December 14, 2011
I’m delighted to be working with Recession Art at their new lower-east-side location in New York this coming year.
Click here to go to their website for more information and upcoming show dates.
“For our 2012 season, Recession Art has selected six of our most promising, talented emerging artists as Featured Artists. They will receive a solo show at RAC, a place in our first annual Featured Artist Catalog, and access to special partnerships and services throughout the year. We are honored to support and assist them as they move towards the next stage of their careers.”
September 8, 2011
Pawnshop at Thessaloniki Biennial
Pawnshop proprietors Julieta Aranda (in bowler) and Anton Vidokle, Ludlow Street, New York 2007.
ARE YOU AN ARTIST IN NEED OF FAST CASH?
Forget gallery hassles GET CASH NOW! High! Fast! Immediate cash payments! Come on down today!
Pawnshop at Thessaloniki Biennial
18 September–18 November 2011
Wed/Thu/Sat/Sun 17:00–21:00, Fri/19:00–23:00, Mon–Tue: closed
T 30 2310522672
Originally established by artists Julieta Aranda and Anton Vidokle in New York in 2008, PAWNSHOP went bankrupt at the beginning of the world financial crises, only to re-open successfully in Beijing and, most recently, at Art Basel.
Structurally, a pawnshop is a short-term loan business, which retains a collateral object (a camera, a ring, a guitar, a gun, and in this case an artwork) in exchange for a cash loan—a small fraction of the object’s value that needs to be repaid with interest within a one-month period. If the owner of the pawned object does not return to collect it and repay the loan + interest within 30 days, the pawnbroker has the right to sell it.
What is of particular interest in pawnshops is the peculiar mixture of the illicit and the desperate, futurity and anticipation. The idea that the object is collateral for cash that might be traded back for the object during a set duration, could be put in other words, that works of art and money are just dancing in a choreography in which they might just circle back and meet again, and cancel each other out, but in fact rarely do.
All profits from PAWNSHOP have been donated to Doctors Without Borders.
Lucas Ajemian, Armando Andrade, Florian Aner, Artemio, Michael Baers, Christin Berg, Bik Van Der Pool, Julien J. Bismuth, Chloe Briggs, Mike Bouchet, Svetlana Boym, Francois Bucher, Andrea Büttner, Etienne Chambaud, Herman Chong, Branka Cvjeticanin, William Diaz, NICO DOCKX, Gardar Eide Einarsson, Annika Eriksson, Köken Ergun, Jakup Ferri, Jean-Pascale Flavien, Harrell Fletcher, Iris Flügel, Egan Frantz, Peter Freidl, Jaime Gecker, Carmen Gheorghe, Barbad Golshiri, Sara Greenberger-Rafferty, Antonia Hirsch, Klara Hobza, Ralf Homann, Sejla Kameric, Matt Keegan, Christoph Keller, Staš Kleindienst, Runo Lagomarsino, Andriana Lara, Annika Larsson, Sebastjan Leban, Kit Lee, David Levine, Liz Linden, Nuno daLuz, Rodrigo Mallea Lira, Lucas Moran, Gean Moreno, Shane Munro, Sina Najafi, Trine Lise Nedreaas, Carsten Nicolai, Lisa Oppenheim, Ernesto Oroza, Bernardo Oritz Campo, Wendelien van Oldenborgh, Marion von Osten, Olivia Plender, Bettina Pousttchi, Khalil Rabah, Manuel Raven, Fay Ray, Joseph Redwood-Martinez, Anri Sala, Natascha Sadr Haghighian, Julia Scher, Jessica Sehut, Matt Sheridan Smith, Aaron Simonton, Shelly Silver, Lucy Skaer, Michael Smith, Nedko Solakov, Francesco Spampinato, Peter Spillman Franz Stauffenberg, Eric Stephany, Martin Stiehl, SUPERFLEX/ COPYSHOP, Jalal Toufic, Andra Ursuta, Gabriela Vainsencher, Costa Vece, Lawrence Weiner, Ana Wolovick, Haegue Yang, Florian Zeyfang, Andrea Zittel
New works by:
Andreas Angelidakis, Uri Aran, Athanasios Argianas, Manfredi Beninati, Carolina Caycedo, Christina Dimitriadis, Jimmie Durham, Irini Karagianopoulou, Apostolos Kotoulas, Nikolaj Larsen, Carlos Motta, Theofanis Nouskas, Angelo Plessas, Mathilde Rosier, Tayfun Serttas, Socratis Socratous, Chryse Tsiota and others.
Forget the market! Forget the fair! Dollar is Low! Recession is Back!
It’s time to shop… PAWNshop!
“Old Intersections-Make it New”
3rd Thessaloniki Biennale of Contemporary Art
18 September–18 December 2011
September 18, SMCA, Moni Lazariston, 19:30
August 23, 2011
I will be participating in ACA’s artist residency program October 9-30, 2011. I will be working with painter Alexis Rockman, and plan to work on large-scale works on paper and video animations inspired by the local landscape.
I am grateful to the Joan Mitchell Foundation for its generous funding, allowing me to participate!
April 19, 2011
Presented by Recession Art, Curated by Bradley Bailey
April 30 – May 8, 2011
Opening April 30, 6 pm to Midnight
At The Invisible Dog: 51 Bergen Street, Cobble Hill
“Don’t stop believin’; hold onto that feelin’.” – Journey
Irrational Exuberance deals with seemingly rational systems of mass belief or delusion, and their relationship to values, whether economic or moral. The show is curated by Bradley Bailey and features work by Paloma Crousillat, Tate Foley, Nikita Gale, Danny Ghitis, James Gillispie, Ani Katz, Sam Keller, Ely Kim, Conrad Kofron, The Ladies’ Auxiliary, Alma Leiva, Azusa Murakami, David Needleman, Johanna Povirk-Znoy, Jay Peter Salvas, Holly Streekstra, Gabriela Vainsencher, and Anusha Venkataraman.
Gallery hours will be noon to 8 pm Sunday through Thursday, and noon to midnight on Friday and Saturday.
In the weeks leading up to the opening of the group show Irrational Exuberance on April 30, we are interviewing the artists to learn more about them, their work, and how they have been impacted by the recession.
Brooklyn, New York
Gabriela Vainsencher was born in Buenos Aires and raised in Tel Aviv. In 2005, she moved to Brooklyn, where she currently lives and works. Her drawings, videos, and installations have been shown in solo and group exhibitions in the US and abroad, including Mass MoCA, La Chambre Blanche in Quebec City, the Freies Museum in Berlin, and Pierogi Gallery in Brooklyn. She is currently working on a trilogy of fictional video animations concerning the inner life of a stadium light.
Piano Concerto, Gabriela Vainsencher
Q: Tell us about the art you will exhibit.
A: I will be showing a small part of Morning Drawing. This is an ongoing project for which I make a drawing every morning and post its image to my website. I began this project in January 2008, and it now contains hundreds of works on paper. On one hand, it is a rigorously disciplined practice, and some mornings it’s the last thing I feel like doing. On the other hand, I am most happy when under a deadline, and having one every morning starts my day off right. Morning Drawing allows me to to act like a mad scientist in my daily lab–I create characters out of cats, llamas, monster trucks, and stadium lights and make them say strange, poetic truths about life and art.
Q: What is irrationally exuberant about your art?
A: I make art EVERY MORNING. My production levels do not depend on whether I have time, or money, or an idea, or have just had a great studio visit with an exceptionally influential curator. (Although all those things help.) I am irrationally exuberant about the positive effect art can have on daily life.
Q: Has the recession impacted your art?
A: Not at all. I think young artists in New York are so used to working without a budget, without a safety net, that having the economy collapse just brings everyone else down to what we call “life”.
View Gabriela Vainsencher’s website.
April 6, 2011
FACETIME #2: John Roach and Gabriela Vainsencher
APRIL 7 – MAY 1, 2011
OPENING RECEPTION: FRIDAY, APRIL 8, 2011, 6-9PM
above left: Gabriela Vainsencher, Stadium Light Three, 2010, still from video animation
above right: John Roach, Landscape, 2009, still from video
below left: John Roach, Looming Staghorn, 2011, watercolor and collage, 8×10 inches
below right: Gabriela Vainsencher, John’s Fan, 2011, pen and watercolor on clay coated paper, 11×14 inches
Facetime#2 once again brings together two artists from different backgrounds and generations – John Roach, who came to Brooklyn via circuitous routes from far away San Francisco, while Gabriela Vainsencher arrived here by way of Argentina, where she was born, and Israel, where she grew up.
On first encounter, the two artists’ respective practices appear also to be in stark contrast, with Roach being primarily thought of as a sound installation artist, while Vainsencher has invested particular energy in exploring the potential of drawing as an expression of (and antidote to) daily life. John Roach’s practice has come to be centered around objects that relate to sound, whether they are devised to produce them, to transform them, or to react to or with them. The artist’s preoccupation with an interactive element in his work is particularly recurrent, while the cause and effect behind his finished pieces is never limited to functionality alone as it embraces much poetic license and a myriad Fluxus-like digressions and embellishments.
In this way, Roach’s working drawings, for example, might wander off into seemingly unrelated musings, perhaps spawning reveries every bit as philosophical as those often featured in Gabriela Vainsencher’s “Morning Drawings”. In these works, executed each day and posted on the web, Vainsencher juxtaposes motifs – animals and objects, gestures and splashes, as well as text and line. The resulting works can be just as unexpected and puzzling, though often harboring unquestionable truths, as a diagram that John Roach might sketch out in order to help him understand how to connect motion detectors, speakers, magnetic fields and amplifiers so that they will carry out a clearly defined task with whatever mysterious, and evocative results.
Both artists have also seen the making of video works as a valuable complement to their other explorations, and it is here that we perhaps get our first striking impression of some specific common ground, especially as both artists are particularly attracted to the joys of low-tech tinkering, which is completely in keeping with their rather primitive, even visceral relationships, respectively with drawing (Vainsencher) and sound (Roach). At the same time, inviting these artists to exhibit together provoked another (perhaps primal) tendency they both seem to have, which is a garrulous or social desire for sharing, for dialogue, and often for collaboration. In both cases, this comes from a heightened sense of curiosity, as both artists are intensely inquisitive about the artistic practices of others, and the invitation to participate in Facetime#2, sparked off an immediate visual conversation, involving a spontaneous ‘game of associations’ on Tumblr, with each artist adding images in response to the other. Soon, rumors arrived of John baying for “fuel!”, and Gabriela responding by serving up John’s own characters, transformed…
In the context of previous projects, Gabriela Vainsencher has spoken about her interest in “the transportation of an experience from one person to another, using different means of representation”, while John Roach has similarly talked of the importance of collaboration, which means being “invited to embrace uncertainty, expectation and curiosity…never know[ing] who’s in control.” This openness to the input of others, makes for a rich evolution of images and visual sensations, as witnessed on the Tumblr platform, which became a true repository for thoughts, visual reactions and dialogue between the two artists, with the question of authorship and its importance rapidly diminishing.
Both artists seem to be far too excited by the richness of visual language and its infinite potential to be overly concerned with this question. Both have regularly participated in collaborative pieces and the transformation of content and ideas that this welcomes, and both are very clearly interested in notions of translation in the widest sense, in the mutations of language whether written, visual, verbal or sound-based. As the initial improvised conversation on Tumblr developed, it was interesting to see how a kind of language immediately began to evolve, a language necessarily both private and public, ambiguous and specific, abstract and figurative…Images were imported from multiple sources, with no heed for authorship, and these could be assimilated, bounced off, repeated, juxtaposed and/or transformed. (cf: Gabriela Vainsencher’s 2008 series of altered photographs entitled “Other People’s Art”).
As these found and/or altered images found their place alongside drawings and collages by the two artists, their role began to go beyond simply that of acting as catalyst or stimulus. As a result, these images are going to find their way into the exhibition in their own right, once again questioning authorship and its importance to art, just as John Roach and Gabriela Vainsencher began to see their own drawings and exchanges as being ultimately interchangeable, at least in their role as components of the same conversation.
Similarly, when considering the installation of their videos, a discussion immediately occurred concerning the use of a common soundtrack, binding the artists’ films together with a common aural setting. In Gabriela Vainsencher’s video, “Stadium Light Three”, an image of stadium lights interacts with the liquidity of subsequent movements and interventions of paint and color. Vainsencher’s filmic painted gesture parallels John Roach’s use and transformation of reflections in water, with the eye grasping onto the rarely recognizable fragments of our banal surroundings, just as it does when the Stadium lights wash back into view in Vainsencher’s piece.
From the spectators point of view, this exhibition may seem to constitute a challenge to find a few bearings first, but that should be in the context of submitting to participation in a wider network of thought and association, even agreeing to be a part of what John Roach has called “a perfect extension of John Cage’s ideas of indeterminacy”. Why not submit to the endless richness of visual language, where pigeons may or may not have a particular symbolism, and the person wearing the wolf costume (that looks like a bear) may be doing nothing more significant than dancing to the music?
March 21, 2011
January 20, 2011
Opening January 20, 2011 at Cabinet Magazine and Saturday, January 22, 2011 at Mass MoCA
“All Of Your Hard Work” 2008-2011
I made this drawing about LeWitt’s mural at the Dia Museum in Beacon, NY, in 2008. The following
year I was the Artist-In-Residence at Williams College, in Williamstown, MA, where I met artist Vik
Muniz and gave him this drawing as a gift.
For the show “An Exchange With Sol LeWitt”, the image of this drawing will be duplicated in as many
copies as needed and given as a gift to the visitors of MASS MoCA.
The exhibition is divided between two locations, please join me for the opening at MASS MoCA this Saturday
(January 20), and at Cabinet magazine tomorrow!
An Exchange with Sol LeWitt /curated by Regina Basha
Cabinet Magazine: 21 January–5 March, 2011
Opening reception: Thursday, 20 January 2011, 7–9 pm
Location: 300 Nevins Street, Brooklyn, NY
MASS MoCA: 23 January–31 March, 2011
Opening reception: Saturday, 22 January 2011, 7–9 pm
Location: 1040 MASS MoCA Way, North Adams, MA