Bartow + Metzgar
The League of Imaginary Scientists 
Jane Marsching
Nathalie Miebach
Deb Todd Wheeler

Curated by Liz K. Sheehan

 

When I heard the learn’d astronomer,
When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add, divide, and measure them,
When I sitting heard the astronomer where he lectured with much applause in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander’d off by myself,
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars.


Walt Whitman, from Leaves of Grass, 1867

Statement by guest curator Liz Sheehan:

At the heart of Walt Whitman’s poem is the search for balance: an astronomy student struggles to maintain a sense of wonder about his subject as it is reduced to numbers. Growing impatient with the brilliant but droning lecture, he leaves the classroom to see the stars with his own eyes.

 

Each artist in Limitless Range confronts space and distance in different ways with patterns, layers, shapes and color. While creating space, erasing space, and shifting perception, these artists act as magicians, architects, and archaeologists. This exhibition features site-specific mural installations that incorporate each artist's technique 
intersecting to activate the walls of the gallery.

Kelie Bowman's painted mural evokes a continuously shifting perception inspired by her experience of watching light reflect on water. Kelie spent the fall of 2011 living on a sailboat in Tampa Bay, Florida and was subsequently awarded a residency on a boat in Jamaica Bay, New York in spring of 2012.  The mural captures Kelie's experimentation with shifting depth and distance in a still medium. Through the multiplicity of angles her work invites the viewer to open their perception.

Chilean artist Elisita Punto believes that there is architecture for sound that needs to be resolved for every different landscape that we inhabit. Obsessed with repetition, patterns, rhythms, and optical effects, Elisita is constantly pushing the limits of geometric shapes and colors with relation to music. Elisita's brain works like her masking tape compositions, using visual arpeggiators, tones and sound expansion in a visual language.
 As an artist and musician, she finds herself exploring the breaking point where shapes become sound and noise becomes something visual.

Sto Len makes sumi-ink paintings that utilize a mix of traditional Japanese calligraphic techniques, chance operations, rhythm and improvisation on paper, canvas, and walls. These works explore the obliteration of the image while acknowledging the phenomenon of Pareidolia (seeing faces in random images). Once faces begin to emerge, Sto allows the lines to finish telling their story by submitting to the concrete imagery he discovers.

 In 1954 the original B/W film Gojira premiered in Japan as a dark response to the atomic disasters during WWII as well as the American nuclear testing in the Pacific arena. Created by the corruption of nature, Gojira is a prehistoric monster who rises out of the sea to destroy Japan. His arbitrary destruction is a metaphor for the rise of the atomic era.

A "Wexelblat Disaster" is defined as: "...a disaster caused by the interaction of natural phenomena with human technology. Specifically, it refers to a class of disasters occurring because humans built systems to human scale that affect the planet and climate, which operate at very different scales. A natural event damages some technological device or installation, and it's failure precipitates much greater harm than the initial event."

In our global crucible, the consequences of environmental disaster at the hands of humans are no longer isolated distant events. We are finding ourselves deeply connected through the voices of technology and progress, such as witnessing the earthquake and tsunami that devastated the coast of Japan in 2011. A monster rose from the sea and left a nuclear catastrophe. The query for the Godzilla Attacks project was how to use a literal monster attacking Congress Street as a way to connect Portland's trajectory with the larger world as we know it.

Godzilla Attacks began as a public performance conceived of by Greta Bank and Scott Peterman, who collaborated with several Maine artists including costume set designers, filmmakers, photographers, actors, directors and technicians. It has subsequently developed into a short film and window installation. The film is a hybrid mixture of Super 8 film, Suitmation and digital stop motion photography.

This project was funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts, along with generous support from SPACE Gallery and Andy Graham at Portland Color-DESIGNTEX Surface Imaging.

For their first exhibition in the United States, Milan based artist/designer duo Carnovsky (Francesco Rugi and Silvia Quintanilla) wanted to present a subject they really care about: the jungle, with its exuberant, twisted and redundant vegetation patterns that can hide bizarre and exotic creatures.

Their design project, RGB, uses filters and colored lights to hide and reveal rendered images utilizing the basic principles of additive primary colors red, green, and blue. This method plays on human perception of colors and allows the eye to be tricked into sensing revealed images based on the colors being reflected. With this trick, the image of the jungle can hide bizarre creatures and reveal them with just a flash of light.

RGB is about exploring surface and skin, mutating and interacting with different chromatic stimuli while questioning notions of perception. With RGB, Carnovsky aims to create something ephemeral and continuously mutating, promoting the concept of indefiniteness rather than certainty.

 

RGB: The Jungle is made possible with generous support from Bangor Savings Bank, The Andy Warhol Foundation for the Visual Arts, The Sam L. Cohen Foundation, and a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. Print services by Designtex.

 

Beautiful Possibility is a traveling exhibition and research project by Alison Pebworth that takes the prototype of the 19th century American Traveling show as inspiration for engaging others about what it means to be American. Two pre-scheduled tours follow a “reverse migration” of Manifest Destiny from west to east coasts across the northern United States and southern Canada. The project launched from Southern Exposure in San Francisco in March 2010 and toured from California to South Dakota in the seven months that followed. A second tour commenced in April, 2012, to arrive in Maine in September.

The traveling exhibition consists of a series of hand painted canvas banners, a tour map and a survey station. Pebworth physically tours the show, living in a travel trailer for this solo journey, playfully assuming multiple roles as historian, field sergeant or conjurer to present her work.  As an explorer she mines the remnants of 19th century expansionism in the people and landscapes for new possibilities for defining who we are.

 

Organized by Printeresting, Rum Riot Press is a small press exposition of artists' publications including work from over sixty artists, designers, and publishers from around the world. Rum Riot Press explores how DIY and small press publishing can foster communication and offer an alternative to mainstream media sources. This show coincides with a major resurgence in self-publication, which is a mode of communication that offers agency to anyone willing to participate. Given the current small press explosion, now seems like a good time to marry the mistakes of the past with the possibility of the present.

The exhibition's title references an event in Portland history when, had these kinds of independent publishing and accessible communication methods been available, violence may have been prevented, averting 1855's brief period of civil unrest after the city attempted to prohibit the distribution of alcohol and sparked so-called "Rum Riots."

The Rum Riot Press will operate as a functioning small press production and distribution site for the duration of the exhibition. Resident artist Amze Emmons, a founder and editor of Printeresting, will spend three weeks in the gallery, organizing zine workshops, readings, and related events to engage the community in a conversation about the role print can play at this unique moment in history. All publications from this exhibition will become part of SPACE Gallery's new zine Library, which will be permanent and open to the public.

Opening Reception: July 26 from 5-7PM

Zine Workshops: July 28 from 12-6PM

The 2012 Sketchbook Project World Tour makes a stop a SPACE from July 12-14th. Come browse hundred of sketchbooks submitted by people from all over the world.

Open viewing hours:

Thursday 7/12, Opening Reception: 4-8PM

Friday 7/13: 1-5PM

Saturday 7/14: 1-5PM

Crank Sturgeon melds minds with SPACE Gallery for a three week, onsite exploration in sound art, installation, and performance. Working solo and partnering with longtime collaborators, Pat Corrigan & id m theft able, Crank will be getting dirty, transforming the gallery with interactive electronics, boxes of Sharpie markers, and performing micro-plays on demand.
 
June 1st: Artwalk Fortified. Video projection and live collaboration with id m theft able, HEXBeam, & Greg Kowalski
 
Thursdays @ 4 pm. Afternoon Tea. Catch the process in action! Slurp some smoky Souchong with the Sturgeon.
 
Fridays @ 6 pm: The weekly deeds and experiments culminate with an early Friday evening showcase. Stop on by to watch some featurettes, play with the interactive installation, or witness live art unfold before your eyes.
 
Saturdays @ 12 pm: June 9th & 23rd. Workshops. Crank brings his knowledge to the soldering table: part alchemy and part science, these workshops delve into the creation of contact microphones, victorian synthesizers, and low-budget electronic switching devices. Open to all levels of experience.

Anyone who has thrown their legs over two wheels and pedaled forward into territory urban or rural knows the feeling - a certain transcendence that only a cyclist can tout.  Whether it’s commuting everyday to work or occasionally dusting off the old cruiser, the experience of a place via bicycle alters the perceptions, opening new pathways both mental and physical. 

As a community-driven experiment in field recording, throughout the month of May our main gallery will be used as a headquarters for abstract mapping of bicycle-powered experiences. We invite you to come map your routes, record your thoughts, pin found specimens to the wall and share with us the joy of riding the world’s best transportation device. Go for a ride.

Click here for a complete list of Bike Month events.

e-mail photos from your rides to jenny@space538.org

 

PROJECT 35 - INDEPENDENT CURATORS INTERNATIONAL

Project 35 is a program of single-channel videos selected by 35 international curators who have each chosen one work from an artist that they think is important for audiences around the world to experience today. The resulting selection is released in four installments, and is presented simultaneously in an ever-expanding number of venues.

Drawing on ICI’s extensive network of curators to trace a complexity of regional and global connections among practitioners, Project 35 demonstrates the extent to which video is now one of the most important and far-reaching mediums for contemporary artists.

 

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