#5 • March 10, 2019: Vore Babies at Lubov, 373 Broadway, #207, New York, NY

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6-9 pm

Presented by Random Man Editions.

"Recently pokemon everywhere have been changing into sexy pokemorphs. What are your sexiest pokemorphs? What pokemon do you dream about at night? What pokemon light your fires? Let's talk about it, but don't write fan fics!" – Anonymous Youtuber from Maya Ben David's "Pokemorph Me", 2016

"Do you ever wonder what your insides look like? Could you put on a costume that looks like your insides? Then what if you made another costume that looked exactly the same, but turned it inside out so both of the insides were touching? Now what's the inside?

How does it feel? How does it feel? How does it feel when you touch it? How do you feel when you touch it? How do you feel? How do you feel?" – Anonymous, 2018

"Then I peeled off all the paper I could reach standing on the floor. It sticks horribly and the pattern just enjoys it! All those strangled heads and bulbous eyes and waddling fungus growths just shriek with derision." The Yellow Wallpaper, 1892 – The Yellow Wallpaper, 1892

In the Victorian short story The Yellow Wallpaper, a woman is quarantined in a small attic covered in decaying yellow wallpaper. As she spends more time in the attic, she witnesses a woman behind the wallpaper who is also herself. The wallpaper is a portal between the exterior and interior of the self, it is both the embodiment of oppression and the way through it. In Maya Ben David's "Vore Babies"its the hall of mirrors known as fan fiction, furries, and anthro-cosplay that are both the prison and the light at the end of the tunnel. Within Maya's esoteric identity formations there is a simultaneous profession of deep loneliness, of being misunderstood, combined with a fierce protection of that same loneliness, of being "the only one who gets it." If the 20th century's answer to alienation (avant garde art or punk rock) was too easy to commodify, perhaps the 21st century's answer to alienation is locked inside the comments section of sexy pokemorph deviantart fan fic forums. – Jacob Ciocci and Francis Marion Moseley Wilson

https://lubov.nyc/vore-babies

Image: Still from Maya Ben David's Vore Babies.

#4 • March 7, 2019: Main Attractions at Lubov, 373 Broadway, #207, New York, NY

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6-9 pm

Works by Salim Al Bayri, Gregory Kalliche, Collin Leitch, Sam Newell, Elizabeth Orr, Emma Pryde, Emma Stern and Geo Wyeth & Alan Danielson

Curated by Theodore Darst.

https://lubov.nyc/main-attractions

Image: Still from Emma Pryde's Classicä, 2018. 3:24 mins.

#3 • November 22, 2017: Unified Continuum at Lubov, 373 Broadway, #207, New York, NY

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Reception: Wednesday November 22, 6-9 pm

Curated by Catalina Arzani.

UNIFIED CONTINUUM is a re-calibration model of un-intelligence for conscious operating systems, INDETERMINATELY UN-LOCATED at Antarctica 41.1 - 41.2-DAY, metaphysical coordinates 101.01. here. This continuum has the physical inconsistency of the absence of matter; purposeless, nationless, in constantly shifting stasis, Nameless, formless, UNTITLED + UNMASTERED, yet seemingly codified and governed by the phenomena of this universe 695/ex.

In this un-amusing un-museum, feel free as un-defined un-scientific un-artistic un-talented un-inhabitants, { between 0 (zero) and ∞ (infinite) }, to assimilate with a continuously changing un-natural lattice of re-information.

with FRANKLIN, Renyi Ng, Andrew Fernandes, Catalina Arzani, Fernando Hinze, Shinji 9000, +others

From now to unknown.

https://lubov.nyc/unified-continuum

#2 • September 28, 2017: Cue Mark at Lubov, 373 Broadway, #207, New York, NY

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Doors 7 pm, films 7:30 pm

Works by Stephanie Barber, Laura Bartczak, Lucy Kerr, Aglaia Konrad, Janis Crystal Lipzin, Ellie Parker, Jenna Westra. Curated by Jenna Westra.

Cue Mark brings together nine films by seven artists who share an affinity for the poetics of movement and a reverence for analogue cinema. These artists use their cameras to record and bring to light both object and performance and make permanent via photochemical processes.

Janis Crystal Lipzin considers film to be a material located in the painterly realm, and engages with the material's sensory and optical qualities. Through hand processing her film and manipulating the emulsion, she reveals an expansion of the industrial Kodak color palette, alluding to the natural world where possible color expressions are enhanced. Her subjects in De Luce 1 & 2 include plant life and architecture, natural and built environments that dance with their recordings in modernist color field tableaus.

The work of Aglaia Konrad is similarly concerned with the built environment, her film La Scala is a spatio-temporal continuum of the Brutalist residential building designed by Vittoriano Vigano for Andre Bloc (1956-1958, La Garda, San Felice, Italy). The camera pans in a soothing slow motion and traverses interior and exterior space fluidly, with reflections in the glass façade reading as double exposures. Her material concerns are in the apparatus; the optical system, aiming and reframing. She proposes the potential for film to embody the experience of architecture as sculpture.

Where the moving camera animates the static sculptural architecture in La Scala, Jenna Westra's portrait of a dancer titled Static Movement Sundown insists on slowing down movement of the human body and allowing external forces of the camera, wind, and sun to intervene. Lucy Kerr's Bridge Piece and Laura Bartczak's Viscera are similarly grounded in choreography and performance, though the technical possibilities of stop motion and advanced editing effects pay homage to the "magic" of filmmaking. While Bridge Piece follows a dancer's sequence of lethargic efforts to stand up right, Bartczak's imagery offers frantic, strobe-like portraits of desert landscapes contrasted by split screen close-ups of a bouncing torso.

Stephanie Barber's work 3 Peonies traverses ground that reads both violent and nurturing, where cut pink flowers are progressively covered with blue painters tape on a blood red ground. What begins as a reverence for natural beauty ends up pointing towards the abstract expressionism and color field work of high modernism which, in many cases eschewed the banality of such "natural" beauty. Mirroring by Ellie Parker reflects on the camera's ability to act as a Barthesian mirror to the past.

https://lubov.nyc/cue-mark

Image: Still from Ellie Parker's Mirroring, 2016. 16mm, 2:55 mins.

#1 • March 6, 2014: Current Conditions at apexart, 291 Church St, New York, NY

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Organized by Francisco Correa Cordero and Luba Drozd

Works by Greta Alfaro, Luba Drozd, Valie Export, Ragnheiður Gestsdóttir, László Moholy-Nagy, James Nares, Ben Rivers, Fern Silva

Current Conditions will an evening of screenings curated around central themes of space and boundaries. The artists take as main concerns the fallacy of physical and mental limits to contain the many itinerations of people and their societies, ideologies and ambitions.

Frequent themes and subjects such as terrain, motion and weight are used to interpret the various renditions of the politics that continuously shape and govern our surroundings. The films represent a calm and meditative approach used by the artists to study and comment on the peculiarities, discrepancies and contradictions of structures imposed by culture upon itself.

http://apexart.org/events/current-conditions.php

Image: ©Fern Silva, Passage Upon the Plume (still), 2011. Courtesy of the artist.

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