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Mote Gallery at SUPERMARKET Art Fair 2017

Stockholm, March 23rd - 26th. Stockholm

This year’s Great America(s) is an exhibition that gathers together artists from South, Central and North America, whose work reflects on the complexities of today’s land-use, and the contested ways in which body, identity and connectedness unfold in the continental Americas.

The full list of artists include: 

Alejandra Bonilla

Amy Ritter 

Andrea Solano

Borderless TV

Cristóbal Cea

Damian Davis

Devra Freelander

Felipe Castelblanco

Jonathan Armistead

Nicolás Mastracchio

Ivonne Villamil

Support from

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Two special screenings hosted by the Royal Academy America and Mote Gallery in New York City.

October, 2016 and February, 2017. 

A series of intimate screening presenting artist's films from critical makers, collectives and artists living in different hemispheres. Felipe Castelblanco, 2015 Starr Fellow, Royal Academy Schools, selected a number of works exploring today's political landscape, from land use to radical seafaring, and body and intimacy to race issues.

Artists’ Films by:

Egor Kraft, Olga Jitlina, Liam O’connor, James R Southard, Soukaina Joal, Nima Dehghani, Jody Wood, Sohrab Kashani and Soheila Azadi, Ana Karina Delgado, Felipe Castelblanco, Institute for New Feeling and Borderless TV. 

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Last April (2016) Mote Gallery had the pleasure to bring the work of international emerging artists to Stockholm, as part of SUPERMARKET Art Fair. This is the biggest alternative art fair in Scandinavia, gathering artists-run gallery from all over the world. We were thrilled to be the only art gallery representing the U.S. in this version of the fair. 

The full list of artists includes:

The Institute for New Feeling (Agnes Bolt, Nina Sarnelle and Scott Andrew) 

James R. Southard

Shepherd Manyika

Amy Ritter

Liam O’connor

Jesus Benavente 

Ivone Villamil

Nicolás Mastracchio

Felipe Castelblanco

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“Every act of violence rends the fabric of time, and the frayed threads can never be completely stitched back together.” Smithsonian Magazine, July 2015

Kimberly M. Webb spent June 1-July 11 in Spain. During the month of June she stayed at Can Serrat, an artist residence in El Bruc, Catalonia, Spain. Her installation at Mote Gallery is a materialization of that journey. Much of her time she spent wandering around the vast Montserrat Mountain and valley, collecting thoughts and contemplating remains. Her installation at Mote Gallery addresses the heartaches of unjust acts, which have accrued histories of violence embedded in our land. During her time there she learned of brutalities that mangled the country while many atrocities were happening here in the US.

This installation is dedicated to her friend Henri Refugi Agulles and his family who greatly suffered through the Franco reign during the Spanish Civil War and to the lives lost during the devastating mass shooting that took nine innocent lives on June 17, 2015 at Emanuel African Methodist Episcopoal Church in Charleston South Carolina.

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http://www.columbusalive.com/content/stories/2015/12/03/art-preview-biopresence-at-hopkins-hall.html

BioPresence surely isn’t the first exhibition to be inspired by animals.

But it is the first to feature a video installation edited by spiders — and likely the first to feature fish-generated webcam art that gets banned on Chatroulette.

Spearheaded by Ohio State University Department of Art professor Amy Youngs, BioPresence is about sensing, acknowledging and celebrating animal life, primarily where it intersects with the Ohio State campus. The project began with a significant amount of data-gathering about the animal life on campus, via social media, webcam and observational record-keeping.

“It did evolve, as we examined how to make sense of all this data, to explore it in terms of art-making,” Youngs said.

Participating artists are students in the Art & Technology program within the art department, as well as faculty and other artists “we knew had done work related to the theme,” she said.

“My work has always been inspired by biological systems,” said Ken Rinaldo, a professor in the Art & Technology program. His piece is a video installation by and about spiders, screening a movie about spiders until a software program senses movement by one of the live spiders in the installation, at which time the feed switches to live footage of the spider as food is released.

Master of fine arts student Jessica Ann’s work also involves the movement of live animals. “SexxxyFish” features live drawings generated by the tracking of the movement of fish, which are then broadcast and shared on a web chat platform that randomly pairs users around the world.

“Chatroulette is one of the stranger and seedier places on the Internet, so while I thought people would be curious, I guess there are a lot who are disappointed it’s fish,” Ann said. “The array of different responses becomes part of the art. The audience is sort of curating the piece.”

Recent master of fine arts graduate Allison Blair is working on a piece inspired by the large number of birds killed after colliding with windows in Hopkins Hall. Her three-story-tall etching is a screened printing on acetate of a bird that was killed after colliding with a window; the bird is petrified and stored in the university’s Museum of Biodiversity.

“It’s the biggest thing I’ve ever made,” Blair said, adding, “The idea is simple, to get people to notice animals, especially the everyday ones.”

BioPresence will remain on view at Hopkins Hall through Dec. 16. Select pieces will also be on display in the Mote galleries (mote078.org) on North High Street.

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It was while walking around one of the bigger cities in the United States - I’m notsure completely but it may have been Chicago or New York – that I passed under a marquee sign for a theater.  Upon looking up, I realized that the underside was a mirror and the traditional marquee lights came away from the surface by a few inches.  It was in that act of looking up at the reflection that I was taken out of my fixed, individual state and was displayed as part of the crowd that was walking with me (or perhaps I was walking with them).  I was no longer in my own thoughts; instead I was at a distance from myself, decorated with lights.  That bit of memory stuck with me and I would often examine the complexity and the flash of wonder from that experience.  

The marquee sign is very specific in that it announces a spectacle (whether this is for a theater production, musical, performance...etc.).  At the same time, the sign is a spectacle in and of itself.  This doubling became very interesting to me, much in the way that the reflection from underneath relayed the crowd with interweaving of light.  If patrons were to partake in the event of seeing a show, they themselves in perhaps all their glamour, would be just as integral to the spectacle as the performers.  Ultimately, seeing oneself as part of the event, affirms a place of status or more subtly, belonging to or a part of the show.

A sign is a signal and will define a direction to follow or move towards. It announces that, “all will be revealed, all will be known.”  The mirror for the crowd will demonstrate it as significant. However, in my piece “Signal,” I’ve given the onlooker the sign and the performance all at once, without the reflection of self.  The viewers demonstrate their gaze up to the underside of the sign awaiting the event.

Yet the video is of people entering and exiting the frame and lacks any choreographed performance.  Seemingly, they come from an undefined place and withdrawal into undefined directions. In some ways it mirrors the actions of the people walking out in front of the display window of the garden theater.  

Excerpts from Martin Heidegger’s, What is Called Thinking? :

-Whatever withdraws, refuses arrival. But-withdrawing is not nothing.  Withdrawal is an event…The event of withdrawal could be what is most present throughout the present, and so infinitely exceed the actuality of everything actual.  

-As we are drawing toward what withdraws, we ourselves point toward it.

-Drawn into what withdraws, drawn toward it and thus pointing into the withdrawal, man first is man. His essential being lies in being such a pointer.  Something which in itself, by its essential being, is pointing, we call a sign.  As he draws towards what withdrawals, man is a sign.  But since this sign points toward what draws away, it points not so much at what draws away as into the withdrawal. The sign remains without interpretation.

What I think Heidegger is referring to is the state of encountering bigger question that human beings have to face.  The quest for an answer, for instance, places one on a specific set of rails, in a specific direction. Viewers encountering Signal point their gaze upward and inadvertently become a sign for onlookers to gather or follow in suit.  The event or spectacle is political in that it announces a moment that will come or is about to happen.  Anticipation is the nucleus for the unknown- the mystery.

When first working on Signal, I had correlated many thoughts of the marquee with that of the cosmos.  The lights being the representation of twinkling star-lights, actors/actresses referred to as stars and the viewer’s gaze being an upward direction.  The cosmos is this thing that announces itself but only lets us into it to a certain extent.  I personally attribute this barrier as being that of the edge of a stage. 

All the romantic notions being tested by science, trying desperately to establish another form of life…perhaps to establish significance.  And this thing the cosmos withdrawing from us, in some ways rejecting us, doesn’t offer us the same chance to be welcomed, always withdrawing.  And so we build satellites, send golden records out on rockets, cameras fly by planets, relaying blips and beeps… waiting and hoping for a signal.  

-Peter Morgan

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In an age of excess, globalization, and commodification, South Korea born- Chicago based Artist Yaloopop is fascinated by how our symbols of everyday life are marketed, advertised, and sold. Yaloopop constantly takes iPhone pictures, capture the laptop screens, and download web videos of every day, mainstream media spectacles. Yaloopop multiplies, shifts, bends, and distorts these found pieces to collage her own microcosm in the vastness of digital space. Yaloopop alters her role as a passive consumer to culture maker, creating a visual extravaganza as this microcosm leaps off the screen onto 3 dimensional forms. At Mote Residency, Yaloopop will showcase part of her newly launching project, Yaloofarm which explores the spectacles of American contemporary (agri)culture in Midwest. 

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PORTEND.  incorporates new work created onsite during my MOTE residency. Eight hand-cut letters comprise text that has been drawn onto the windowed exterior of the three story building, which as I understand, used to be a financial institution. Four of the letters are about fifteen feet tall by about six feet, and then they scale down in size within the ‘turn��� of the building façade. Below the three letters that spell out “YOU”, inside the contained front atrium space viewable from the street, I have organized three box fans connected by copper pipes to the cardboard boxes they came in, along with some scattered white plastic t-shirt shaped shopping bags and gallon jugs of distilled water. One of the containers of water is open. All of those things are arranged on the floor on top of the left-over negative portions of the paper that yielded the letter forms found on the exterior of the space. The lower windows of the atrium are framed by sheer Mercury colored curtains.

Typically, no matter the project, I find my work fluctuating between moments of necessary sparseness and material excess. Also, for me, always, I’m thinking about relationships, communication, how to use very clear and non-ambivalent forms or objects, and about arranging them in a way that is edited, staged, and - at the same time - maybe a little unfinished. My hope is that there is enough space within the work for people to find an experience that is at once familiar and yet unknown. These letters or objects have a very specific identity or function, but are presented in a way that renders them somewhat dysfunctional. I think the biggest challenge is trusting that people have the capacity to connect with these propositions, and that they might then walk away with some type of new question or understanding to possibly create their own story about what is going on or being said between them and the work.

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I have plaque build­up in the crevices of my brain. Those wormy­looking, dark spaces are now filled up with a gooey substance that has the look of uncooked sausage. I’m starting to see objects more as mushy texture. I can’t see their function. I can’t see their purpose. I can only see just how weird things look. It feels nice to collapse the world around me into a soup. I know I shouldn’t just sit here drooling at everything. It’s my fault that viscous globs are filling in my brain. I’m tuning in. I’m conscious of the crud.

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City Walks is series of videos is part of an ongoing project started in 2010. Each work in this series is exploring not only the movement through “places” but also how the body moves through “spaces”. The works combine nationwide health statistics from the Gallup Wellness Survey with recorded vision penetrating both the urban landscapes of US cities and the postulated activity of the human structure and movement seen through peculiarly non-optical points of view.The following cities are included in this installation in ranked order out of 188 cities:#7 Cedar Rapids, IA# 17 Seattle, WA# 22 Boston, MA#88 Chicago, IL# 91 Philadelphia, PA #109 New Orleans, LA#118 Columbus, OH#144 Allentown, PA#171 Dayton, OH#187 Youngstown, OH

Listen to the soundscape here: http://bit.ly/1FT4OZc

Read more on the project here: http://bit.ly/1H1AShp

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#mote078 #KendalBabl #AIRartist

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#MariaDiFranco #FabricArt #PrintMaking #mote078

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#mote078 #navelNayeon #nayeonYang #performanceArt

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Eric Sherwood Mote1187 Installation Performance // Mixed Media

Rearity is adaption. Simirarry, crarity may be erotic. Differentry, questions may be the reber yerr of truth, and rastry im not a bereaver of my father's cancer.

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Joe Wolfle Jr.

Mote 078 Gallery @ Mote 1347

Alone in the woods, I seek shelter for my home has been set a blaze. Four years just to watch dreams burn, the match struck in repetitive motion. It was easy to finish a pack, there were so many.

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City Planning; Columbus, Ohio @ Mote1187 MOTE078: What drew to you the Columbus skyline? An interest in architecture? K Coburn: I lived in Columbus for 4 years before recently moving to New York. And though I was only there for a few years, the skyline feels like home for me. But, at the same time, it’s a false sense of home. I never lived downtown, or in a place where I could see the skyline. And in all honesty, the skyline isn’t super recognizable, as there’s not a Seattle Space Needle in Columbus that serves as a landmark building. However, ask any central Ohioan and they would all agree that there is a sense of familiarity almost as a backdrop for everyday activities. The way I think most people see it, is kind of a love hate relationship. It’s familiar but it kind of…sucks a little bit (haha). It’s hopeful that we are functioning as a big city, but it’s not really where the city life happens. MOTE078: You’ve got work in two Mote window spaces. One window you chose to paint, and the other you used paper and cardboard. Is the change in media a reaction to the space, or do you regularly work with paper and paint right now? K Coburn: This is the first time that I have worked with paper and cardboard in a piece, and the first time that I have painted on glass.  In my process, I start with an idea, and then I use whatever medium will help me execute my idea the best.  The painted window stemmed from an earlier piece that I did on canvas, but I adapted the piece to better suit the shape of the window. For the work on High Street, it is important to the piece that it feels straight forward aesthetically.  Because of this, I didn’t want to use a medium that required a learned craft.  Cardboard and paper felt simple. I am more interested in concept rather than craft. I think that craft can be distracting. Overly good or overly bad craft can distract the audience from a concept. Working with paper and cardboard, I wanted the viewer to see the idea for what it is, and not get caught up in the quality of paper. My goal is not for someone to look at the piece and say ‘What a beautiful carving’ or ‘What a beautiful painting’ - I want them to first question what I’m saying or why I’m saying it.

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Jessica Naples Mote 1347

What’s in the office?

There are computers,

telephones,

chairs with wear,

stacks of plain copy paper,

desks and cubicles

with cork boards—

push pinned in

a picture someone’s

daughter drew.

The Exterminator’s Office is a site-specific installation in which carefully placed labels name the contents of 1347 South High Street.