In Practice:
    You never look at me from the place from which I see you

    In Practice:
    You never look at me from the place from which I see you

    Jan 15–Mar 19, 2012

    A. K. Burns, Keith Connolly, Michael DeLucia, Aleksandra Domanović, Ethan Ham, Takashi Horisaki, Yve Laris Cohen, Sean Raspet, Christine Rebet, and Tom Thayer
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    SculptureCenter is pleased to announce the In Practice program exhibition You never look at me from the place from which I see you, on view from January 15-March 19, 2012. Featuring works by A.K. Burns, Yve Laris Cohen, Michael DeLucia, Aleksandra Domanović, Takashi Horisaki, Sean Raspet, Christine Rebet, and Keith Connolly, Ethan Ham, and Tom Thayer, the exhibition is curated by Kristen Chappa, SculptureCenter's Curatorial Associate. Included as part of the exhibition's run is Coda, a performance series taking place inside of Yve Laris Cohen's site-specific installation, and the panel discussion Translating Spaces: Translating Law. The Curator's essay is available to download here. An opening reception will take place Sunday, January 15th from 5-7pm; the artists will be in attendance.

    You never look at me from the place from which I see you is organized around investigations into vision and location within our present moment, characterized by dispersed attention and spatial deterritorialization. In this current era of technological, cultural, and geopolitical exchange, what constitutes a site is more in flux than ever before, and the act of looking has perhaps never been more fragmented. This constellation of artists engages with scattered states that are prismatic and overwhelmed as a contextual given and an appropriate lens through which to consider contemporary relationships, interactions, and identities, and a means to arrive at revised notions of sculptural phenomenology.

    SculptureCenter's In Practice program supports the creation and presentation of new work by emerging artists and reflects diverse approaches to contemporary sculpture. Artists are selected through a call for proposals and are provided with an honorarium, production budget, fabrication and installation assistance, as well as invaluable curatorial and administrative support. This year SculptureCenter received over 850 applications from artists worldwide.

    Aleksandra Domanović is a multimedia artist from the former Yugoslavia currently working in Berlin. Her art is informed by archival models and her observation of collective history and shared memories. Most of her works are derived from online sources and inflected by her transnational experience living in Serbia, Slovenia, Japan, Austria, and Germany. She has recently completed residencies at Tobacna 001 (Ljubljana), Western Front (Vancouver), and is currently in residence at Kunstlerhaus Bethanien.

    A.K. Burns is a New York-based interdisciplinary artist whose practice encompasses sculpture, video, collage, and social performances. Her work is engaged with queer and feminist politics exploring such themes as fetish, power relations, assimilation, and separatism. Burns received a BFA from RISD and an MFA from Bard College. She is a founding member of W.A.G.E. (Working Artists and the Greater Economy), and co-editor of RANDY, an annual trans-feminist arts magazine.

    Yve Laris Cohen recently received his MFA from Columbia, and is currently a resident at Movement Research in New York. Cohen is an interdisciplinary artist, whose performances and sculptures address shifting subjectivities and power relationships among human bodies and objects. Influenced by the Judson Theater and his training as a classical ballet dancer, Cohen's dance pieces explore ballet as a form of manual labor rather than an elite spectacle.

    Michael DeLucia received his MFA from the Royal College of Art, London, and a BFA from RISD. His current artistic practice comprises relief panels, sculptures, and drawings modeled with 3D CAD software. These objects, digitally designed and mechanically painted with geometric patterns in industrial hues, reevaluate sculptural phenomenology. He has recently exhibited at Eleven Rivington (New York) and Luce Gallery (Torino).

    In his sculptures, performances, and community-based, socially engaged projects, Japanese-born and New York-based artist Takashi Horisaki investigates subjects ranging from urban development and social architectures, to political and environmental crises, to the intertwined nature of virtual and physical experiences. Relating landscape to the preserved surfaces of the built environment, Horisaki seeks an awareness of the ephemerality of our constructions and their incorporation within systems of the natural world. He has previously exhibited at Socrates Sculpture Park and ABC No Rio.

    Sean Raspet's work focuses on circularities of time and logic that operate across multiple spheres of everyday life. Most of his projects explore late-capitalist culture, and are composed of fragmented, rearranged, and repeated images and reflections of banal spaces. He is currently pursuing an MFA at UCLA. Raspet's past solo exhibitions include Societe (Berlin), The Kitchen (New York), and Daniel Reich Gallery (New York).

    Christine Rebet is a French artist living in New York, whose practice combines drawing, film, sculpture, and performance. In her brand of social critique, Rebet addresses the traumas of personal and collective histories; she comments on spectacle, spectatorship, and the intersection of public and private spheres. Rebet completed an MFA at Columbia in 2011. She is also a recent recipient of the Lotos Foundation Prize in the Arts and Sciences.

    The Spaniard and the Hudson Eel will be the first artistic collaboration by Keith Connolly, Ethan Ham, and Tom Thayer. Keith Connolly is a founding member of The No-Neck Blues Band (NNCK), a seven piece improvised music collective based in New York for the past 15 years. Ethan Ham is a visual artist and former game developer teaching new media at the City College of New York. Tom Thayer is a visual artist currently working in New York City; he has most recently exhibited at The Kitchen.

    These three projects by Aleksandra Domanović, Sean Raspet, and Michael DeLucia bridge physical and digital media, and expand upon the artworks displayed in SculptureCenter's galleries.

    Aleksandra Domanović's Marina Lucica #2 (2012) is a PDF download, making one of three paper stacks created for the In Practice program available for free online. Here, the artist releases her original files to the public, and exposes the process by which a gallery or Domanović herself would print and assemble her artwork.

    Sean Raspet's Untitled (Sublet (2)) consists of a series of 28" x 84" spaces leased or subleased between multiple institutions on an ongoing basis. Each participating institution sublets a 28" x 84" rectangle of its floor space to another organization, and at the same time, it sublets an identically-sized space from a third organization, and so on--forming an interlinked chain of re-possessed spaces. Starting on January 10, 2012, Printed Matter began a lease of SculptureCenter's premises. On January 12, White Columns began a sublet from Printed Matter. For further information and a list of participating organizations:

    Michael DeLucia's Artifacts (2011) consists of four digital models generated by CAD software, available for download as PDF files. The interactive 3D forms can be enlarged, reduced, circumnavigated, and passed through--offering an altered encounter with sculpture, while simultaneously exposing a step in the process by which DeLucia creates his large-scale physical objects.


    SculptureCenter's exhibition program is generously supported by grants from the New York State Council on the Arts; The New York City Department of Cultural Affairs; the Kraus Family Foundation; the Lambent Foundation fund of the Tides Foundation; Bloomberg Philanthropies; the Milton and Sally Avery Arts Foundation; the Overbrook Foundation; the Joan Mitchell Foundation; the Foundation for Contemporary Arts; the Peter Jay Sharp Foundation; Lily Auchincloss Foundation, Inc.; and contributions from our Board of Trustees and many generous individuals.

    In Practice: You never look at me from the place from which I see you is generously supported by the National Endowment for the Arts and the Pollock-Krasner Foundation