On the Golden Wire for Thirty-Four
March 15- April 12, 2013
Nurture Art Gallery
56 Bogart Street
Brooklyn, NY, 11206
NURTUREart is pleased to present On The Golden Wire for Thirty Four, a collaboration between Marysia Gacek, Natalie Häusler, and Katharina Marszewski. Starting with the general idea of an exchange of content between artists, the initial focus is put on the materiality of such content, rather than its possible meaning.
The point of departure is the limit: weight and volume of the most standard international package between the USA, UK and Germany. Each collaborator supplies one third of the materials and contributes to one Care Package*, which will travel from New York to Berlin to Glasgow to Berlin, before returning to its city of origin.
This exchange of matter focuses on the process, rather than what it manifests itself as in the end. The package is meant to supply three artists with the same materials to work with, without a pre-envisioned outcome. The collaboration examines individual methodologies leading to creating work using a model of giving and taking away.
When the package returns to New York, it will be put on display alongside artworks inspired by its content in a gallery exhibition at NURTUREart.
*Although “CARE package” is a registered trademarked term, originating in the wake of a World War II campaign to send food and supplies to Europe, the expression is still used in everyday vernacular to share the idea of providing comfort by sending food, supplies and small mementos. In 1945 Americans were given the opportunity to purchase a care package for 10 dollars to send to their friends or relatives. In 1962 President John F. Kennedy said that every CARE package is a personal contribution to the world peace and it expresses concern and friendship in a language all peoples understand.
NURTUREart Non-Profit Gallery
56 Bogart Street
Brooklyn, NY 11206
718 782 7755
open hours: Thurs through Mon | 12 - 6
Directions to NURTUREart Gallery:
L train to the Morgan Avenue stop. Exit the station via Bogart Street. Look for the NURTUREart entrance on Bogart Street, close to the intersection with Harrison Place.
NURTUREart Non-Profit Inc. is a 501(c)(3) New York State licensed, federally tax-exempt charitable art organization founded in 1997 by George J. Robinson. NURTUREart is funded in part by City Council Member Diana Reyna, City Council Member Stephen Levin, the Greenwich Collection, the Harold and Colene Brown Foundation, the Laura B. Vogler Foundation, the Joan Mitchell Foundation, the Lily Auchincloss Foundation, the Milton and Sally Avery Foundation, the New York City Department of Cultural Affairs, the New York City Department of Education, The New York State Council on the Arts, Urban Outfitters, The Wolf Kahn and Emily Mason Foundation and generous individuals. NURTUREart is grateful for significant past support from the Andy Warhol Foundation for the Visual Arts, The Liebovitz Foundation, and the Greenwall Foundation. It receives legal support from Volunteer Lawyers for the Arts.
INDEPENDENT NEW YORK
THURSDAY 7 – SUNDAY MARCH 10, 2013
4TH FLOOR, 548 WEST 22ND STREET, NEW YORK
WITH WORKS BY
HENRI CHOPIN MICHAEL DEAN NATALIE HAEUSLER
CHRISTINA MACKIE ARMANDO ANDRADE TUDELA
Opening: 28.02.2013, 7 – 10 pm
Exhibition: 01.03. – 24.03.2013, Tue - Sun: 2 - 7pm
Künstlerhaus Bethanien, Kottbusser Straße 10, 10999 Berlin
Participating artists: Endre Aalrust, Nadja Abt, Fiona Bate, Michael Beutler, Gerry Bibby, Juliette Blightman, Wolfgang Breuer, Mitch Cairns, Baltazar Castor, Anders Clausen, Tim Davies, Alyssa De Luccia, Martin Ebner, Yusuf Etiman, Heike Karin Föll, Julian Göthe, Agatha Gothe Snape, Natalie Häusler, Lily Hodges, Karl Holmqvist, Judith Hopf, Fox Hysen, Egija Inzule, Tobias Kaspar, Tove El, Janne Lervik, Adam Linder, Matthew Robert Lutz-Kinoy, Shahryar Nashat, Pegs Marlow, Ariane Müller, Sean McNanney, Julia Alida Müschen, no:sler, Claudia Barbara Nösler, Salome Oggenfuss, Henrik Olesen, Kirsten Pieroth, Lucreccia Quintinilla, Sabine Reitmaier, Daniel Reuter, SOPHIE, Anne Speier, Susanne Winterling
Prisma Pavillion is an independently
free-standing structure whose limits invite transparency– its glass
shapes are complicated by some opaque bricked areas that resist this
invitation. Inside the place, there is another architectural shape of
brick fueled by burning logs. It dispenses things that taste better
after they’re heated and are sold by men for many hours of the day by
Prisma Pavillion is also the name given to a gathering of invited people who together have and will also generate; like a social oven, an independent yet complicated structure right nearby.
Most of the invited people have been involved in various performances from Gerry Bibby over the last few years, as well as those who have invited him to participate in their own structures. The nature of this gathering is a sort of productive sociality rather than merely a collection of acquaintances.
OPENING FRIDAY, JANUARY 11th
The show will be on until the 16th of February
Supportico Lopez is open from Tuesday to Saturday from 11.oo to18.oo
T +49 (0)30 31989387
Natalie Häusler’s installation Case Mod (from: Case Modification) exacts from the gallery space a field in which intimate and reciprocal encounters between audience and art practice are put to the test. Häusler compiles a situation, combining several elements derived from a simultaneity of studio and writing practice. Emerging forms, in this case, watercolor, sculpture and poetry, query whether they can uphold their fragilities and force of expression when exposed to the viewer and to each other. They articulate their mutuality when arranged in the exhibition space, producing crosscuts and intimacies, of visual, written and audio material, as well as of object and spectator/reader/listener. The audience becomes belated witness of the art practice as such, which the installation at once showcases and archives. Yet the present moment is highlighted, as the visitors leave their own marks on the piece, subtly shifting the color palette or destroying it altogether. Audio recordings of the voices of close friends, who are practicing artists and writers, reciting the poems, track down their intimate reception by an audience that is involved in both activities, production and reception. They capture the moment of surprise, when the poem was read for the first time. The intimacy of this contact is shared with the passing visitor, who must come close to the audio shelf, to be able to hear the individual reading. These shelves, each of which is cut and built from one sheet of stained glass, and customized for its assigned set of outmoded electronic equipment, serve as seductive support and hazardous repellant at the same time. The temporary construction of a space of this kind is part of Häusler’s inquiry of forms of intimacy, risk, close contact with the material, and inclusion to question modes of reception.
The book “Watercolors” documenting a one and a half year long correspondence in form of watercolors sent via email between Natalie Häusler and Californian artist David Horvitz is part of the exhibition. A book launch will be held on January 12th at Motto Berlin.