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DTSTART;VALUE=DATE:20190516
DTEND;VALUE=DATE:20190630
DTSTAMP:20260429T151352
CREATED:20190529T181025Z
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SUMMARY:Brancusi: The Photographer
DESCRIPTION:“Photography is the form in which Brancusi speaks about his sculpture.”—Friedrich Teja Bach \nKasmin is pleased to announce Brancusi: The Photographer\, organized in collaboration with Bruce Silverstein Gallery. The exhibition will be on view at 293 Tenth Avenue between May 16 – June 29\, 2019\, presented concurrently with Brancusi’s Flowers at Bruce Silverstein Gallery\, on view at 529 West 20th Street. \nBrancusi: The Photographer brings together 25 rare vintage gelatin silver prints spanning two decades that illuminate the significance of photography in the artist’s oeuvre. In 1921\, Brancusi began to committedly pursue photography\, influenced by his friendship with Man Ray\, whose guidance on the technical elements of medium and mastery of the darkroom strengthened Brancusi’s command of the practice. This collaborative dialogue between the two artists led to numerous technical and artistic innovations within and beyond the photographic medium. \nAside from their inherent indexical nature\, Brancusi’s photographs reinforce the artist’s intentions for his sculptures. Taken in the intimate\, atmospheric environment of his carefully orchestrated studio design at the Impasse Ronsin in Paris\, many of the works in the exhibition depict assemblages comprised of Brancusi’s most celebrated sculptures\, found objects and material fragments. They demonstrate the artist’s investment not only in the sculptures as individual entities but also in their relationship to one another in the context of a synthesized tableau. These ‘group mobiles’ create narrative juxtapositions amongst the rooms’ dramatic pitches of light and shadow\, allowing Brancusi to emphasize salient elements of his work and recontextualize their forms. \nAn indelible\, recurring subject in Brancusi’s photographs is his magnum opus\, the Colonne sans fin (Endless Column). Different iterations of the sculpture are photographed while installed in Brancusi’s studio\, at Târgu Jiu in Romania\, and in Edward Steichen’s garden at Voulangis in France. Often positioning the camera at the base of the sculpture looking up\, Brancusi’s photographic works on Endless Column accentuate the sublime nature of the sculpture while also documenting the site-specificity of its myriad installations.
URL:https://artinamericaguide.com/event/brancusi-the-photographer/
LOCATION:Kasmin Gallery\, 293\, 293 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20190504T160000
DTEND;TZID=America/Halifax:20190504T180000
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SUMMARY:Closing Event for Naama Tsabar: Dedicated
DESCRIPTION:Melodies of Certain Damage (OPUS 4) \nTsabar and a group of female musicians will explore a new vocabulary of movement and sound\, culminating in a performance with Tsabar and her collaborators on the exhibition’s closing night\, May 4\, between 4-6pm. This will be her first performance in New York City since 2017. \nWith the works installed in the gallery\, each Melody is plugged into one of the Transition canvases\, works that Tsabar has repurposed the internal and external components of the amplifier—wires\, speaker\, circuit board—to create a new formal visual experience whilst retaining the object’s ability to broadcast sound. Tsabar then invites a group of female musicians to collaboratively compose a unique composition on the sculptures. Activating the Melodies requires the performers to insert their bodies\, either sitting or lying\, into the spaces between the fragments. By dispersing the centralized phallic order of the objects and the position of the body in relation\, Tsabar and the performers assume the reclining physical position as an act of sensual\, creative and non-hierarchical power. \nThe collaborators performing are: \nRose Blanshei\nRosana Caban\nTaja Cheek\nFrederique Gnaman\nSarah Strauss\nNaama Tsabar \nPerformances will be held at 4pm and 5pm. RSVP is essential. To secure space\, please email events@kasmingallery.com
URL:https://artinamericaguide.com/event/closing-event-for-naama-tsabar-dedicated/
LOCATION:Kasmin Gallery\, 293\, 293 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Event
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DTSTART;VALUE=DATE:20190313
DTEND;VALUE=DATE:20190505
DTSTAMP:20260429T151352
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SUMMARY:Naama Tsabar: Dedicated
DESCRIPTION:Naama Tsabar employs performance\, sculpture\, and photography to subvert the gender roles historically associated with musicianship. In her second exhibition at Kasmin\, Dedicated\, Tsabar further explores these themes by expanding the borders of movement of the female body. For the duration of the exhibition\, Tsabar and a group of female musicians will explore a new vocabulary of movement and sound\, culminating in a performance with Tsabar and her collaborators on the exhibition’s closing night\, May 4\, between 4-6pm. This will be her first performance in New York City since 2017. \nThe exhibition presents three bodies of work that weave together iconic actions and objects from rock music with a more intimate portrayal of the artist’s body and its movement through\, within\, and into the surrounding architecture. Tsabar transforms the gallery space into a site-specific sculptural and sonic installation featuring the broken remains of guitars on the floor\, Melodies of Certain Damage\, connected to the wall-based canvases\, Transitions\, that double as amplifiers. In a series of adjacent photographs\, a female body penetrates and intertwines with walls in the artist’s studio. The motifs of femininity\, gender\, disruption\, destruction\, and reconstruction recur throughout the exhibition. Melodies of Certain Damage takes as its starting point the moment after the climatic break of the electric guitar. By attending to the aftermath\, rather than the destructive act itself\, Tsabar interrogates structures of power\, and reworks the violent act into a new sculptural and performative order. In the quiet of her studio\, Tsabar smashes the bodies of the guitars\, and\, engaging a Dada-esque sense of randomness and play\, maps out the broken pieces where they fall\, affixes the shattered parts to the floor\, and then attaches new strings to reinstate the sculpture’s musical functionality. \nWith the works installed in the gallery\, each Melody is plugged into one of the Transition canvases\, works that Tsabar has repurposed the internal and external components of the amplifier—wires\, speaker\, circuit board—to create a new formal visual experience whilst retaining the object’s ability to broadcast sound. Tsabar then invites a group of female musicians to collaboratively compose a unique composition on the sculptures. Activating the Melodies requires the performers to insert their bodies\, either sitting or lying\, into the spaces between the fragments. By dispersing the centralized phallic order of the objects and the position of the body in relation\, Tsabar and the performers assume the reclining physical position as an act of sensual\, creative and non-hierarchical power.
URL:https://artinamericaguide.com/event/naama-tsabar-dedicated/
LOCATION:Kasmin Gallery\, 293\, 293 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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