Currency prototypes

Sean Snyder
Superflex
Sarah Morris
François Bucher
RAQS Media Collective
Jimmie Durham
Victor Rosdahl
John Miller
Cabinet Magazine
Nedko Solakov
Anton Vidokle
Lawrence Weiner
Julieta Aranda
Harrell Fletcher
Lawrence Weiner
Lawrence Weiner
Wilson Diaz, Ana Maria Millan
Naeem Mohaiemen
Francesca Grassi
Florian Zeyfang
Alevtina Kakhidze
Judi Werthein
Liam Gillick
Carlos Motta
Carolina Caycedo
Mariana Silva
Hans Ulrich Obrist, Koo Jeong-A
Olaf Nicolai
Mladen Stilnovic
Lawrence Weiner
Mary Walling Blackburn
Bik Van Der Pol
W.A.G.E.
Lawrence Weiner

Recent Listings

15. Jun. 2017
Cuchifritos /
24h
/
Cuchifritos Gallery + Project Space

Sweety's Radio is a live talk-show/installation project developed by Sweety's - a curatorial initiative conceived by artists Julia Mata, Bryan Rodriguez Cambana, Ximena Izquierdo Ugaz, and Eduardo Restrepo Castaño that since 2013, works on seeking out spaces and producing events dedicated to the labor of black and brown artists.

At Cuchifritos, the collective will host Edición Especial, a special iteration of Sweety’s Radio that focuses on Spanish speaking cultural producers, as a means to bridge the conversations taking place amongst black and brown (Spanish-speaking) communities in and outside of the U.S. From June 27th through July 30th Sweety’s programming will consist of weekly interviews featuring four invited artists whose work will take over the Cuchifritos space for each week, culminating in a collaborative installation by the four members of Sweety’s.
 
In response to the local community surrounding Cuchifritos and Essex Street Market, as well as the history of the Lower East Side as Loisaida, and the curators’ personal investment as immigrants and first generation, Sweety’s brings together four artists: Cecilia Gentili (June 27th- July 2nd), Raul Gonzalez III (July 4th- 9th), Emanuel Xavier (July 11th-16th), Elia Alba (July 18th-23nd).

05. Apr. 2017
Cuchifritos /
24h
/
Cuchifritos Gallery

Cuchifritos Gallery is pleased to present Undone Yin Yang, an installation of new work by Jerry Blackman curated by Brigitte Mulholland. Featuring a suite of drawings and a series of wall and freestanding sculptures, the exhibition continues Blackman’s exploration of archetypal themes and binaries. The installation functions simultaneously as both a singular work, and an aggregate of discrete objects.

Blackman’s ongoing Disk series, begun in 2014, involves a complex and labor-intensive technique of extruding partially set plaster through rigid stencils that are designed to break. His material and process-oriented practice yields sculptures that become metaphors for the metaphysical themes organizing our spiritual universe. That brief moment of time where the plaster is in an unstable state—neither solid nor liquid—takes on symbolism for the cosmic balance of chaos and order, embodying a kind of non-dualistic state of transcendence.

A series of circular floor sculptures are extensions of these wall works, arranged to suggest a latent energy: elements waiting to be activated. As Blackman uses and reuses the mold to cast them, traces of detritus from previous castings become integral, unforeseen moments in new works; the various logos and material markings that appear in the sculptures are subtle artifacts of their origins. And yet, for the all of the apparent emphasis on an objective geometry, the rigor and physicality of Blackman’s sculptures and process also make them deeply personal and self-reflective.

His new series of black and white graphite drawings are diptychs, each displaying circuits of contradicting terminals that are completed with the partner drawing. Further resolution of those diametric forces manifests in the gray color that covers the gallery. Blackman’s formal pairing of opposites—black and white, horizontal and vertical—are referencing the sculptures too, nodding to the larger process of mixing water and plaster dust (at a 50/50 ratio) to make them.

Like a closed circuit cosmogram that articulates its own materiality, everything in the exhibition is a holistic reference to itself and to the other works. Inspired by elements of Buddhism and Vipassana meditation, the binaries Blackman conjures —man and woman, front and back, internal and external, flat and round (to name a few)— manifest across multiple works and channels. The installation becomes a complex system of circuits that are superimposed on one another, referencing, mirroring, and balancing their own tensions, yet never quite resolving them either, thus remaining in a perpetual state of energetic incompletion.

17. Jan. 2017
Cuchifritos /
1h
/
Cuchifritos Gallery + Project Space

Opening: Inauguration Day, January 20 2017, 6-8p
Exhibition Dates: January 20 through March 5, 2017
Gallery Hours: Tuesday through Sunday, 12-6pm
Location: 120 Essex Street NY, NY 10002 (inside Essex Street Market)

State (Wolfgang Staehle), United Nations (Joan Waltemath), Defense (Peter Fend), Navy (Marie Lorenz), Treasury (Stan Cox), Labor (Fred Lonidier), Energy (Brian Holmes), Media (Coleen Fitzgibbon), Intel (Jakob Boeskov), Interior (Alice Outwater) and Education (Franz Vila).

On November 22, 2016, amidst great uncertainty about the direction of the United States in the next four years, a proposal erupted: to launch, as is parliamentary custom in Britain, a Shadow Cabinet.

The Shadow Cabinet, as in Britain, would serve as a voice in contrast with, but not in denial of, the incoming Administration. On occasion, there could even be similar views; we do not yet know. We aim now to put on record the views of members of the most-forward thinking sector, the daring pioneers, of the US. For some, this sector is called the "avant-garde."

Some people go on strike. We do not. We do the opposite. We go to work, in loyal opposition. We call for the Avant-Garde of the United States, the pioneering thinkers and inventors and visualizers, to not object to what has happened, but to project what could instead happen.

Up to four years may be required to wait for enactments.

For a full statement, please visit www.shadowcabinet.info