January 21-25, 2019, California Institute of the Arts
(Left to right)
Installation views from front and rear.
Luke Harnden and Lucas Lacámara
mirrors, light, steel, wood, variable dimensions
Taehee Kim and Alexander Rafalovich
artificial intelligence, projector, brick, resin
There's Power in Looking Back
3 polaroids, frame, 8 x 10"
Antoine Midant and Philipp Farra
Conversation 1, 2019
UHD video, 65 minutes 37 seconds
printed text on 8.5 x 11” paper
Alex Rafalovich’s apartment in Hawaii, 2012, 2019
inkjet print, 24 x 36”
tempera paint and dirt on unbleached muslin, rope
10 x 40’
Untitled, 2019, F/F, M/M jumper wires on canvas, 12 x 12 x .5”
Untitled, 2019, F/F jumper wires on canvas, 12 x12 x .5”
Untitled, 2019, canvas, 12 x 12 x 1.5”
HD video, variable dimensions
mapping conversations, 2019
drawing, 18 x 24"
headspace poster, 2019
poster, 8.5 x 11"
The goal of Headspace was to initiate a collaborative art project which would encourage dialogue and expansion of practice through the production of individual artworks amongst a group of self-selected MFAs who would graduate in May 2019. In response to an open call I had initiated, the form of the project was decided through creative collaboration in a first meeting on October 26, 2018 by myself, Serena Himmelfarb, Nicholas Angelo, and Philipp Farra. The larger group of participating artists situated their artworks into an installation in January 2019 in a manner whereby artists’ interests were mapped. My role was that of the cartographer and my contribution was in the form of initiation of the project and the mapping that the group collaboratively produced. I managed the process of the project and I documented the final installation.
The project took place in four phases.
Initiation. In origins, each participating artist contributed documentation and descriptive text of an existing artwork by that artist as a starting place for dialogues to take place. All participants will had access to the artworks and descriptions.
Phase I. In conversations, each participant selected the work of at least one other artist to open a dialogue with concerning the work which had some sort of resonance with interests or practice and conversations between artists took place.
Phase II. In production, each participant constructed an artwork inspired by, in dialogue with, or in response to at least one of the meetings had by that participant with at least one of the other artist participants. We thus worked to expand our practices through understanding the interests and artistic concerns of others.
Phase III. In mapping, the group considered the newly produced artworks and dialogued concerning themes. I created a map of relations between artists and artworks in the form of a drawing, and the group used this to install the artworks in space. The project was installed in C113 on January 21-25, 2019