KATJA LOHER: VUELA VUELA

VUELA VUELA is an all-immersive installation experience that explores the four elements of nature by relating each one to creatures infused with mind and spirit. The exhibition space draws visitors into an alternative world as they peek into the round glass portals on the gallery's facade.  The performance begins inside as they encounter each element through sound and vision while traveling through a phantasmagoric and enchanted universe. Hand blown glass bubbles hold microcosms of beauty and complexity that capture entire worlds and alternate realities in an instance of time. Videoportals open a passage into dimensions where poetic statements materialize into human form creating words and letters that dance in space.  Ballerinas take on the form of small creatures in a multicolored game of perspective and scale that ennoble the existence of tiny beings.  Vibrating trees taken from nature ooze Videobubbles akin to liquid sap with images from the rainforest, the healer, his medicine and his plants, infusing the endangered forest with a second life in this digital world of magic.  The spirit of the trees speaks, chanting the hummingbird song that symbolizes the connection between Earth and the Universe for the Ashanika healers from Peru - the song VUELA VUELA that has given the show its title.  Dancers in costumes mimic the metamorphosis of the butterfly and the somatic sonar-type communication between individuals in ant colonies, flocks of birds and bee hives.

Loher's Videosculptures open windows into kaleidoscopic worlds of recombined images and visions that mix different realities. Visual collages are generated using footage taken from the artist’s travels in the Peruvian Amazon in combination with elaborate choreographies filmed from a bird’s eye view in her green screen studio in New York. The resulting images originate from her ongoing experiments in Cymatics - the study of visible sound based on waves of geometric pattern - undertaken in her Videolaboratory. Physical space is transformed into an ethereal world inhabited by the spirits of nature. Chorals, bees and hummingbirds emanate from floating Rainbowmakers that rotate in space and reflect onto the surrounding walls. It is a dimension where life and impermanence intertwine. It is a liminal zone where extinct creatures and endangered species haunt the spectator through the artifice of technology: that very modern form of magic that is able to recreate alternate worlds and imbue them with life.

In this exhibition, Loher takes us on a new journey into the art of molding nature through the artifice of technology and performance.  Loher´s artifacts generate a virtually real world where human action becomes a creative act rather than a destructive force. The mutual relation between technology, art and magic becomes natural in this virtual jungle where the ancestral healer still dwells.

Art as artifice, art as practice, art as experience.

SEÇKIN PIRIM: HYPOCHONDRIAC

Hypochondriac features works that host parralleled symmetrical and asymmetrical ideas. In some cases, we also observe two versions of the same work, representing opposite poles. In Bullet, layered paper is situated in two separate, physical pieces to form a single relief sculpture. The right piece harbors precise straight lines which turn chaotically curved as they transition to the left piece. The work encompasses frenzy and serenity all at once - two moments of the same experience.

Placing the challenges of form and content at the center of his production, Seçkin Pirim describes Hypochondriac as "an exhibition that overlaps with my life, it lays my life bare. Each work has a story, and a corresponding title. I healed each of those conditions and deteriorations by working in a free and spontaneous manner. I had to genuinely force myself to venture beyond my own borders.”

Combined methods of obsessively symmetrical and precise optical effects with the exact opposite: a spontaneous and un-calculated style of production were used to create this new series of work. In Hypochondriac, the artist explores his personal struggle with hypochondria, the constant worry of having a serious illness, through his art practice. Pirim questions whether or not the notion of ‘the distorted’ or ‘immaculate’ can be described as diseased. Ultimately, Pirim accepts this duality as his own, without recourse or internal criticism. With this artistic process the artist examines himself and his art through a completely unfiltered lens.

 

NICK GENTRY: PSYCHIC COMPOUND

Using obsolete technologies like 35mm film negatives, VHS cassettes, X-ray prints, and floppy discs, Nick Gentry’s work comments on the rapidity and scope of contemporary technological shifts. These materials, sourced directly from individuals all over the world, come together—in one form—to suggest a compound of shared experiences. Paul Laster writes of Gentry’s portraits, “Creating a new form of portraiture that’s influenced by the development of the technology, identity and cyber culture in contemporary society, Gentry doesn’t consider the faces he forms to be the subject matter. His avatar’s bodies become vehicles for information from the past.”  His style is delicate yet bold, led primarily by the intrinsic qualities of the materials he chooses to work with, which creates a stunning and unique aesthetic.

By repurposing anachronistic technology, Gentry’s work raises questions regarding consumerism, cyber culture, and identity, while simultaneously highlighting our relationships with technologies of both the past and the future. The resulting portraits explore the line where reality meets illusion and memory. The intentional use of the word “psychic” in the exhibit’s title alludes to the intangible evolution of our external perceptions, which, as Gentry states, “relates to the soul or the mind--something spiritual that is not fully understood by science.”

Nick Gentry (1980) is a British artist living and working in London.  A graduate of London Art College Central St. Martins, notable exhibition venues include The Barbican, C24 Gallery in New York, Robert Fontaine Gallery in Miami and appearances at Bonham’s Urban Art Auctions in London. International press for Gentry has included The Guardian, BBC, Widewalls, The Daily TelegraphThe MirrorThe Huffington Post, La Repubblica, This is Colossal, Juxtapoz, Shortlist, Whitewall, Wired, and the Wooster Collective.

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