L/C/B*C
Jun 2013 -
This month long international residency enables MFA students and PhD candidates in Art History from the University of Illinois at Chicago to activate their creative process and research by working in the city of Berlin, and in dialogue with a peer from the Academy of Visual Arts Leipzig.
Included in the residency is a spacious work and living space in Berlin at the Institut für Alles Mögliche, a public exhibition at a local gallery, and a public talk in Leipzig. Students from both cities have the opportunity to work in dialogue with one another, collaborate if desired, and compare and contrast their practice and scholarship in Berlin, one of the most vibrant places for the arts today.
This residency provides an outstanding experience for students to connect with an international art scene, and meet peers from another University.
UNIVERSITY OF ILLINOIS AT CHICAGO / SCHOOL OF ART & ART HISTORY / http://artandarthistory.uic.edu/
INSTITUT FÜR ALLES MÖGLICHE / WWW.I-A-M.TK
ACADEMY OF VISUAL ARTS LEIPZIG / WWW.HGB-LEIPZIG.DE
Included in the residency is a spacious work and living space in Berlin at the Institut für Alles Mögliche, a public exhibition at a local gallery, and a public talk in Leipzig. Students from both cities have the opportunity to work in dialogue with one another, collaborate if desired, and compare and contrast their practice and scholarship in Berlin, one of the most vibrant places for the arts today.
This residency provides an outstanding experience for students to connect with an international art scene, and meet peers from another University.
UNIVERSITY OF ILLINOIS AT CHICAGO / SCHOOL OF ART & ART HISTORY / http://artandarthistory.uic.edu/
INSTITUT FÜR ALLES MÖGLICHE / WWW.I-A-M.TK
ACADEMY OF VISUAL ARTS LEIPZIG / WWW.HGB-LEIPZIG.DE
L/C/B*C (#8) - Jessica Pierotti (USA)
October 2016
@ Zentrale / Schererstraße 11 / Berlin-Wedding
October 2016
@ Zentrale / Schererstraße 11 / Berlin-Wedding
Jessica Pierotti is an interdisciplinary artist, teacher, and organizer living in Chicago, Illinois, USA. She received her Masters in Fine Arts from the University of Illinois at Chicago in 2016 and works as the Deputy Director for a small arts non-profit, LATITUDE Chicago.
Pierotti is preoccupied with discovering power dynamics at play at every scale and setting, driven by a desire for control and the consequential anxiety. The resulting works engage with absurdity, and an obsessive and sincere interest in attempting to understand the world through a reductive process. In addition, she is an image maker that is hungry to better understand the effects and results of mediation upon images using the camera, the eye, the memory or the hand. She often works with personal and banal content as a means of focusing in on the modest complexity of daily life.
www.howcouldiknow.com
Pierotti is preoccupied with discovering power dynamics at play at every scale and setting, driven by a desire for control and the consequential anxiety. The resulting works engage with absurdity, and an obsessive and sincere interest in attempting to understand the world through a reductive process. In addition, she is an image maker that is hungry to better understand the effects and results of mediation upon images using the camera, the eye, the memory or the hand. She often works with personal and banal content as a means of focusing in on the modest complexity of daily life.
www.howcouldiknow.com
L/C/B*C (#7) - Bailey Romaine (USA)
June 2016
@ Zentrale / Schererstraße 11 / Berlin-Wedding
June 2016
@ Zentrale / Schererstraße 11 / Berlin-Wedding
I make sculptures and installations that materialize in the space opened by poetic slippages in meaning between language and matter. My practice is contemplative, speculative, and proposes forms for that which escapes articulable thought. I navigate between the linguistic and the material, reading and building. The aesthetics and structures of the built environment are primary points of reference and deeply inform my use of materials. I work largely with reclaimed materials such as cast-off house paint, linoleum flooring, dis-used furniture, and paper remnants. In redirecting these materials from their previous or intended use, I engender a productive and poetic material dissonance.
I am influenced by a lineage of poetics which considers language as material and prioritizes indeterminacy. This lineage includes early Dadaist projects in sound poetry and collage, writing by the language poets from the 1970s on, and the philosophy and theories surrounding them, among others. While many of these projects explore the centrality of language, my practice foregrounds the physical matter of the world with all of its fissures and crevices, in which language dwells. My work develops out of these crevices and into the studio where I articulate a formal and conceptual play between letter forms and provisional architecture, between the infrastructure of our daily lives and the language we have to speak about it.
My work is always in dialogue with language, pushing around and between what I am capable of saying. My sculptures develop improvisationally; as I respond to material and formal constraints language is always present. I find descriptive language immensely generative and I use it as a sounding board throughout the process of making. This both clarifies and complicates, often jettisoning the work off in new and unthought of directions. A work is done when it insists on being there but is surprised by its own strange presence.
www.bailey-romaine.com
I am influenced by a lineage of poetics which considers language as material and prioritizes indeterminacy. This lineage includes early Dadaist projects in sound poetry and collage, writing by the language poets from the 1970s on, and the philosophy and theories surrounding them, among others. While many of these projects explore the centrality of language, my practice foregrounds the physical matter of the world with all of its fissures and crevices, in which language dwells. My work develops out of these crevices and into the studio where I articulate a formal and conceptual play between letter forms and provisional architecture, between the infrastructure of our daily lives and the language we have to speak about it.
My work is always in dialogue with language, pushing around and between what I am capable of saying. My sculptures develop improvisationally; as I respond to material and formal constraints language is always present. I find descriptive language immensely generative and I use it as a sounding board throughout the process of making. This both clarifies and complicates, often jettisoning the work off in new and unthought of directions. A work is done when it insists on being there but is surprised by its own strange presence.
www.bailey-romaine.com
L/C/B*C (#6) - Jessica Cobb (USA)
October 2015
@ Zentrale / Schererstraße 11 / Berlin-Wedding
October 2015
@ Zentrale / Schererstraße 11 / Berlin-Wedding
Observing and contributing to the consciousness of what it is to be “another” is a recurring theme that drives my interest in defining sculpture as the human experience. I am a Maker, and as a Maker, I make membership a primary lens of investigation when creating conceptual foundations in my art. Using CAD CAM, Open Source electronics, material science along with traditions of craft, my work interfaces through the material familiar and technology's cutting edge.
I am interested in how being “the only” informs the frequency at which we experience “self” and “another”. I design specific micro-measures in the installations to erect a sensibility of our selves as “another” that creates a greater understanding of our place in the spectrum of humanity. I focus on inducing intimacy with the viewer and the art for the purpose of igniting participative action. The interaction perpetuates and informs a tertiary inquiry into the macro-population, defining a meta-level of the community it observes.
I am interested in how being “the only” informs the frequency at which we experience “self” and “another”. I design specific micro-measures in the installations to erect a sensibility of our selves as “another” that creates a greater understanding of our place in the spectrum of humanity. I focus on inducing intimacy with the viewer and the art for the purpose of igniting participative action. The interaction perpetuates and informs a tertiary inquiry into the macro-population, defining a meta-level of the community it observes.
L/C/B*C (#5) - Soheila Azadi (USA)
June 2015
@ Zentrale / Schererstraße 11 / Berlin-Wedding
June 2015
@ Zentrale / Schererstraße 11 / Berlin-Wedding
I am a performance artist whose focus is performative installations. My performances involve human interactions within the social sphere, while giving these interactions an artistic and critical meaning. My performances are transient social sculptures limited to specific time and space that have the potential of transforming a society. My experiences as a Muslim woman who has lived under a theocracy in Iran, and as an immigrant who is living in the U.S. under a democracy have motivated me to research the separation between the sexes (which is a stipulation of many orthodox religions), as well as the segregation between races. These imposed separations yield two opposite results. One is oppression within a larger society that often leads to power struggle, and the other is liberation within a community. This liberation arises from the safety of being embraced by a gender or racial group that offers a sense of belonging. I explore these imposed separations in my work.
L/C/B*C (#4) - Alejandro Acierto (USA)
November 2014
@ Zentrale / Schererstraße 11 / Berlin-Wedding
November 2014
@ Zentrale / Schererstraße 11 / Berlin-Wedding
L/C/B*C (#3) - Colleen Keihm (USA)
October 2014
@ Zentrale / Schererstraße 11 / Berlin-Wedding
October 2014
@ Zentrale / Schererstraße 11 / Berlin-Wedding
I don’t paint, I look.
I spent my time at L/C/B*C light looking. I watched time of day effect the brightness of the studio space. I studied the shifts and shadows coming through the windows present. I looked up in museums when I should have been looking straight ahead. In the hopes of being able to see more clearly, I practiced the act of looking every day.
Between 1pm and 1:40pm, I sat waiting for highlights to come in through my window. If they arrived, their luminance melted together differently with each occurrence. It often started with depictions of my window and tree. Each day offered reflections and refractions of objects that stood between my wall and the sun’s light. Even during overcast I sat and dotefully waited. Outlines of objects couldn’t be seen but a quality of light was still there.
Looking After His Work, Berlin was a performance of care documented before and after it’s inaction. Richard Serra’s sculpture outside of the Neue Nationalgallerie was in need of attention as weeds had grown in the crevices between the cube and it’s ground. I documented their presence and then removed them. I got on my hands and knees and went around the cube cleaning the moss and leaves that were distracting the viewer from seeing his work. After this action, I photographed the cube again.
A stream near Zentrale cuts through Wedding and leads you to the first patrolled area of the Berlin wall. Here, sections of the wall are painted with blocks of white whose texture is beginning to move and warp over time. The paint gives way to bumps and lines that mimic the wrinkles and contours of skin. Photographs of the wall are shown with photographs of human skin. They are borderless and placed against the wall of the studio without a frame so that comparison between wall, skin, and photographic image can be made.
I spent my time at L/C/B*C light looking. I watched time of day effect the brightness of the studio space. I studied the shifts and shadows coming through the windows present. I looked up in museums when I should have been looking straight ahead. In the hopes of being able to see more clearly, I practiced the act of looking every day.
Between 1pm and 1:40pm, I sat waiting for highlights to come in through my window. If they arrived, their luminance melted together differently with each occurrence. It often started with depictions of my window and tree. Each day offered reflections and refractions of objects that stood between my wall and the sun’s light. Even during overcast I sat and dotefully waited. Outlines of objects couldn’t be seen but a quality of light was still there.
Looking After His Work, Berlin was a performance of care documented before and after it’s inaction. Richard Serra’s sculpture outside of the Neue Nationalgallerie was in need of attention as weeds had grown in the crevices between the cube and it’s ground. I documented their presence and then removed them. I got on my hands and knees and went around the cube cleaning the moss and leaves that were distracting the viewer from seeing his work. After this action, I photographed the cube again.
A stream near Zentrale cuts through Wedding and leads you to the first patrolled area of the Berlin wall. Here, sections of the wall are painted with blocks of white whose texture is beginning to move and warp over time. The paint gives way to bumps and lines that mimic the wrinkles and contours of skin. Photographs of the wall are shown with photographs of human skin. They are borderless and placed against the wall of the studio without a frame so that comparison between wall, skin, and photographic image can be made.
L/C/B*C (#2) - Benjamin Keddy (USA)
October 2013
@ Zentrale / Schererstraße 11 / Berlin-Wedding
@ Zuständige Behörde / Kuhturmstraße 4 / Leipzig-Lindenau
October 2013
@ Zentrale / Schererstraße 11 / Berlin-Wedding
@ Zuständige Behörde / Kuhturmstraße 4 / Leipzig-Lindenau
Selves (2012)
The work considers the role of the portrait as a reference by which we evaluate the present moment. As history adds inevitable weight to ones character, we evolve from the untainted optimism of youth and our shaped by our perceptions of achievement and failure. As a gesture of self-study and reflection, the artist attempts to shift and align a real-time webcam video feed of his present self to an onscreen portrait from his past. A second webcam records this process from behind, affording an additional perspective of the artist as he is monitored.
Sound envelopes the human experience and provides us with the means to better interpret space, form and language in our everyday lives. With tools that both record and direct aural information, technology offers a bridge between the source of sound in an environment and how this sound is heard. As the dictation apparatus hears for us and translates audio to written form, the assistive hearing device partakes in the listening experience by reproducing the essence of reality to those with hearing deficiencies. Considering that the ear has evolved to convey specific acoustical information to our brains, how does the technical mediation of sound influence way we receive and interpret it?
Please join Chicago based artist in residency, Benjamin Keddy, as he discusses his current work related to hearing and interpretation at the Institut für Alles Mögliche / Zentrale, Schererstrasse 11, Berlin-Wedding. on Saturday, October 26 at 6pm.
MORE: www.i-a-m.tk/l-c-b-c.html
MOREMORE: WWW.BENJAMINKEDDY.COM
Please join Chicago based artist in residency, Benjamin Keddy, as he discusses his current work related to hearing and interpretation at the Institut für Alles Mögliche / Zentrale, Schererstrasse 11, Berlin-Wedding. on Saturday, October 26 at 6pm.
MORE: www.i-a-m.tk/l-c-b-c.html
MOREMORE: WWW.BENJAMINKEDDY.COM
L/C/B*C (#1) - Lauren Edwards (USA)
June 2013
@ Zentrale / Schererstraße 11 / Berlin-Wedding
June 2013
@ Zentrale / Schererstraße 11 / Berlin-Wedding
While at the I-A-M, I began the research which later served as the basis for My show "in the turns" at Andrew Rafacz Gallery in Chicago. In addition, the color photographs were taken in Berlin, not far from the residency site.
The residency was invaluable in constructing this work.
MORE: www.i-a-m.tk/l-c-b-c.html
MORE: www.andrewrafacz.com/exhibition.php?s_id=79
The residency was invaluable in constructing this work.
MORE: www.i-a-m.tk/l-c-b-c.html
MORE: www.andrewrafacz.com/exhibition.php?s_id=79
| andrew rafacz gallery review |
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This project is made possible in part through the generous support of the
Goethe-Institut Chicago. |
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