Tauba Auerbach at The Artist’s Institute – April 12 – June 1

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Tauba Auerbach

The Artist’s Institute
132 E. 65th Street
New York, NY

April 12 – June 1
Opening Reception: April 12, 6-8pm

Tauba Auerbach wants to know how matter and energy flow; how rhythms and patterns emerge from and structure these flows; and how electromagnetic flows in the body and brain amount to life and consciousness. To investigate these things, she pours through scientific journals, attends philosophical conferences, and studies YouTube videos on anatomy, magnetism, and molecular biology. But Auerbach is equally engaged by heterodox theories and indigenous wisdom—panpsychism, traditional medicinal practices, ancient string games—viewing the path of knowledge as a spiral that always doubles back to confirm and revive neglected or rejected perspectives. She approaches all these subjects as an artist, embracing art’s subjectivity and taking bias as a data point in her investigation of the world.

Auerbach’s exploration of fluid dynamics is evident in her Extended Object paintings (2018– ), which freeze a field of cascading droplets that appear to vibrate, swirl, and eddy, though they are motionless. Her Ligature Drawings (2017– ) elaborate on the connections between flow patterns and traditions of ornament, following a pulsing line through improvisational—at times sonically amplified and performed—calligraphy. “I don’t want to just draw the rhythm,” she says; “I want to be the rhythm, to sense the rhythms I already am.”

Auerbach’s latest works—her first kinetic sculptures—push this idea further. Rather than picturing the rhythms of fluids and forms, the sculptures are themselves dynamic, allowing a set of key gestures to unfold over time. A soap film fills the central opening of a mechanism referencing Auerbach’s fascination with fascia (the meshwork of connective tissue that surrounds muscles, organs, glands, and blood vessels) and the interstitium (the newly discovered structure of fluid-filled compartments that extends throughout the body and constitutes one of its largest organs). Another pair of sculptures exhibits different types of spin: exploring the dynamism of asymmetry and symmetry, AC and DC currents. A YouTube video library offers an array of approaches to capturing or modeling the microscopic forms and movements at the heart of Auerbach’s current curiosity.

do it (in school) – Opening April 12, 4-8pm


do it (in school)

Hunter East Harlem Gallery
2180 3rd Avenue at 119th Street
New York, NY

April 12 – June 1
Opening Reception: April 12, 4-8pm

Works created by New York City High School students studying at Art and Design High School in Manhattan; Fordham High School for the Art in Bronx; Frank Sinatra School of the Arts High School in Queens; Manhattan/Hunter Science High School; PS7 8th Graders in East Harlem, among others.

In 1993, the curator Hans Ulrich Obrist together with artists Christian Boltanski and Bertrand Lavier, conceived do it, an exhibition based entirely on artists’ instructions that could be followed to create temporary artworks to be displayed as an exhibition. do it challenges traditional exhibition formats, questions authorship, and champions art’s ability to exist beyond a single gallery space. Beginning 26 years ago with 12 sets of instructions, do it has grown to include instructions from 400 artists, and shown in more than 150 art centers in over 15 countries.

Building on this history, the latest version of the exhibition is called do it (in school)and is a selection of instructions that form a study-based curriculum for high school students.

Alvin Lucier, “The Queen of the South” and Ron Kuivila, “Sparkline, with acceleration” – April 5, 7pm


Alvin Lucier, The Queen of the South
and Ron Kuivila, Sparkline, with acceleration

The Artists’ Institute
132 E. 65th Street
New York, NY

April 5, 7pm

Alvin Lucier, The Queen of the South (1972)

Drawing on the experiments of 18th century physicist and musician Ernst Chladni and 20th century physician Hans Jenny, Alvin Lucier’s The Queen of the South  attempts a direct visualization of sonic vibration. In 1787, Chladni drew a violin bow along the edge of a brass plate sprinkled with a thin layer of sand. The vibrating surface bounced the granules into symmetrical forms—stars, waves, grids, and labyrinths—he termed “sound figures.” Nearly two centuries later, Jenny published the book Cymatics, which further explored and photographically documented the effects of sound vibrations on various substances. Lucier’s score calls for performers to sing, speak, or play electronic or acoustical instruments to activate responsive surfaces strewn with fine materials in order to make visible the effects of sound. The title is drawn from a figure in alchemy, which attempts the transmutation of one substance into another. The Queen of the South will be performed by Ron Kuivila.

Ron Kuivila, Sparkline, with acceleration (2003)

A spark is the visual analogue of a sound: it appears briefly and then disappears, leaving a trace in the memory. Curiously, the sound of a spark has no “body.” Instead of vibrating (pushing and pulling the air), it literally tears the air via a flow of electrons. For Sparkline, with acceleration, Kuivila records sparks as they jump across parallel wires and then plays back these sounds at a slowly increasing rate. Initially sounding five octaves below, the sound of the spark gradually accelerates until it is several octaves higher than the initial sound and stops.

This event is free, but advance registration is required and space is limited. Please RSVP here.

Performance: shawné michaelain holloway – March 28, 7pm


Performance: shawné michaelain holloway
part of Refiguring the Future

205 Hudson Gallery
205 Hudson Street, 2nd Floor Flex Space
New York, NY

March 28, 7pm

Free and open to the public

_.Scheduled(VariableRatio):secondary-conditioned-immediateReinforcement(s)-handlerSearch1_DrillAndPracticeVERSION2.exe, is an interactive experiment in operant conditioning to articulate the structure of intimacies inherent in behavioral training.

In a training session for a human puppy and her handler, positive and negative reinforcements are enacted in a circle between audience members and the performer. Engaged together through a system of exchange, they mutually agree on how to choreograph the giving and receiving of a reward. As rewards and punishments offer potentially precarious and playful communication, this choreographic transfer of power is an act of BDSM. Through this temporary relationship, called “pick-up play,” viewers witness a visceral dance that asks questions about how consent is communicated, what qualifies as violence, and how desire can manifest.