October 3 - October 25, 2019
Opening Reception: October 3rd, 6-8pm
Curated by Hakki Serhat Cacekli & Naz Cuguoglu
The garden is, was and will be a possibility. Not only as a space of collaborative system, between species and inter-species relationships, but also as a place of imagination and resistance. It can be seen as a hole that opens up to another universe, be it sci-fi or good old storytelling. It is sort of a mindset: you can’t choose it, it chooses you. And it will choose you. It is a matter of what you do when the next supernova takes place. Will you go after the raccoon, cut roses to decorate the dinner table, or will you daydream about the seeds hiding under the ground and wonder who put them there. Your camouflage as a colonizer in relation to the invisible seed contradicts with your existence as an exile, voluntarily or involuntarily. Will you let your plants cross-breed, let the moss go wild, or will you cut a hundred-year-old tree in a botanical garden because it was not documented in the archives?
Coming from a place in which public joy is lagged, it is safe to linger towards to private, intimate, and personal. It is a tendency to create a moment to meditate on what is missing of the memory of a city that never was, to heal. Because it is not just about a garden in San Francisco, there are many more far away, that haunt you at night. Name it Gezi or Collective Cukurcuma, these collaborative ecosystems are to keep you awake in the age of (self)doubt and systematic nonsense.
Spend the night in your garden, hug the chthulucene—baby octopus, ladybug, and the raccoon—turn around, cut the moon in half and eat it.
Nobody knows, it did not happen.
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“Sanctuary” is a meditation on our back garden in San Francisco. It is an attempt to learn from plants, mushrooms and moss. Zooming in and out, looking for our reflection in the pond, trying to find our way through the labyrinth. Far from a recreation, each work acts as an allegory to understand our relation to informal gardens and their habitat, blurring the boundaries between inside and outside, human and non-human, to wither and to flourish.
 These questions raised during a curatorial workshop in Dresden, Germany. “The Whole Life Academy” was organized by HKW between May 19-25, 2019.
 Gezi Park Movement—another supernova that took place in Istanbul in 2013.
 Curatorial collective from Istanbul.
ASMA, Elizabeth Corkery, Nicki Green, Greg Ito, Rhonda Holberton, Brook Hsu, Alison O’Daniel, Lara Ögel, Woody De Othello, Susanne M. Winterling.
ASMA is an artist duo formed by the Ecuadorian artist Matias Armendaris (b. 1990) and the Mexican artist Hanya Belia (b. 1994) based in Mexico City. They have exhibited internationally including The Chicago Artist Coalition (USA), Galería Sankovsky (São Paulo), Centro de Arte Contemporaneo de Quito (Ecuador), XIV Bienal de Cuenca (Ecuador), Mx Gallery (NY, USA), Access Gallery (Canadá), Museo de la Ciudad de Querétaro (México). They received the Premio Brasil Awards to do a Residency at Pivô Arte e Pesquisa in São Paulo. The duo has participated in various international Art Fairs including ArtLima (Perú), Material Art Fair (México) Zona MACO (México) ArteBA (Argentina), Artissima (Italy) and CHACO (Chile) where they received the Coleccion CASA award to the best booth in the emerging section. They both received an MFA in the Painting and Drawing Department from the School of the Art Institute of Chicago with a full merit scholarship (The New Artist Scholarship Award). Armendaris holds a BFA in drawing and printmaking from Emily Carr University with both an entrance merit scholarship and The Christopher Foundation Scholarship, and Belia holds a BFA in Visual Arts from the Facultad de Artes y Diseño de la Universidad Autónoma de México (FAD – UNAM). They are recently nominated for the Cisneros Fontanals Art Foundation (CIFO) Grants and Commissions Program, 2020.
Elizabeth Corkery (b. 1986) lives and works in Sacramento, California. Born in Sydney, Australia, she moved to the United States after completing her BFA in Printmaking at the College of Fine Arts, Sydney, Australia. She received her MFA from Cornell University, Ithaca, New York. She has been artist-in-residence at the Frans Masereel Centrum, Kasterlee, Belgium; Vermont Studio Center, Johnson, VT; and The Slade, UCL, London, UK. She has received production and research funding in the US from Brooklyn Arts Council, The Elizabeth Greenshields Foundation, as well as Australian philanthropic organizations The Australia Council, The Dame Joan Sutherland Fund and The Ian Potter Cultural Trust. Corkery has presented in solo and group exhibition at venues around the world, such as Beers Contemporary, London, UK; Telfer Gallery, Glasgow, UK; First Draft Gallery, Sydney, AU; Tower Hill Botanic Gardens, Boylston, MA; and Outside Gallery, North Adams, MA, among others. She is also the Founder/Director of the international printmaking collaborative and publisher, Print Club, Ltd.
Nicki Green is a transdisciplinary artist working primarily in clay. Originally from New England, she completed her BFA in sculpture from the San Francisco Art Institute in 2009 and her MFA in Art Practice from the University of California, Berkeley in 2018. Her sculptures, ritual objects and various flat works explore topics of history preservation, conceptual ornamentation and aesthetics of otherness. Green has exhibited her work internationally, notably at the New Museum, New York; The Contemporary Jewish Museum, San Francisco; Yerba Buena Center for the Arts, San Francisco; Rockelmann & Partner Gallery, Berlin, Germany; [ 2nd floor projects ], San Francisco. She has contributed texts to numerous publications including a recent piece in Duke University Press’ Transgender Studies Quarterly and a piece in Fermenting Feminism, Copenhagen. In 2019, Green was a finalist for the San Francisco Museum of Modern Art’s SECA Award. She is also the recipient of a 2018 Graduate Fellowship from Headlands Center for the Arts, and of a 2019 Arts/Industry Residency from the John Michael Kohler Center for the Arts, among other awards. Green lives and works in the San Francisco Bay Area.
Greg Ito (b. 1987, Los Angeles) received his BFA from San Francisco Art Institute in 2008. Current exhibitions include an exhibition at The Drake Hotel (Toronto). Upcoming exhibitions include Anat Ebgi (Los Angeles), Weiden + Kennedy (Portland), Fused Space by Jessica Silverman (San Francisco), and Maake Magazine (Yucca Valley). Ito was awarded a residency at The Macedonia Institute (Hudson Valley, NY) in 2020 with Mario Ayala. Recent solo exhibitions include: The Garden at Penske Projects (Los Angeles), A Swamp Tale at No Place Gallery (Columbus, OH), Enchantment at Galerie Division (Montreal) and Arsenal Contemporary (Toronto), Lullaby at Andrew Rafacz Gallery (Chicago), and Soothsayer at Steve Turner (Los Angeles). Recent group exhibitions include Smart Objects (Los Angeles), OCHI Gallery (Ketchum, ID), Five Car Garage (Los Angeles), Jeffrey Deitch (New York), Shulamit Nazarian (Los Angeles), Chicago Manual of Style (Chicago), Romer Young (San Francisco), 315 Gallery (Brooklyn), and MON CHÉRI (Brussels).
Rhonda Holberton holds a MFA from Stanford University and a BFA from California College of the Arts. Her multimedia installations make use of digital and interactive technologies integrated into traditional methods of art production. In 2014 Holberton was a CAMAC Artist in Residence at Marnay-sur-Seine, France, and she was awarded a Fondation Ténot Fellowship, Paris. Her work is included in the collection of SFMoMA and the McEvoy Foundation and has been exhibited at CULT | Aimee Friberg Exhibitions, FIFI Projects Mexico City; Yerba Buena Center for the Arts; The Contemporary Jewish Museum, SF; Berkeley Art Center; San Jose Institute of Contemporary Art; and the San Francisco Arts Commission. Holberton taught experimental media at Stanford University from 2015-2017 and is is currently Assistant Professor of Digital Media at San Jose State University. She lives and works in Oakland.
Brook Hsu (b. 1987, Pullman) Lives and works in New York. Hsu received her BFA from the Kansas City Art Institute in 2010 and her MFA from Yale University, New Haven in 2016. She has exhibited nationally and internationally including at the Renaissance Society (IL), Bahamas Biennale (MI), BBQLA (CA), Deli Gallery (NY), Double Double Land (Toronto, Canada), Carrie Secrist Gallery (IL), Galleri CC (Malmo, Sweden), GRIN Contemporary (RI), In Lieu (CA), Page (NY), Vacant Farm (MO), Vernon Gardens (CA) and Et al. (CA).
Alison O’Daniel (b. 1979) is a visual artist and filmmaker based in Los Angeles working across sound, narrative, sculpture, installation and performance. Her projects, screenings, and performances have been included in Made in L.A. 2018, Hammer Museum; The Garage Museum of Contemporary Art, Moscow; Anthology Film Archives, New York, and Art Los Angeles Contemporary. Solo exhibitions include Shulamit Nazarian, Los Angeles; Art In General, New York; Samuel Freeman Gallery, Los Angeles; Centre d’Art Contemporain Passerelle, Brest, France, among others. She is a recent recipient of a 2019 Creative Capital Award. O’Daniel received her BFA from Cleveland Institute of Art and MFA from University of California, Irvine. She will join the faculty of the California College of the Arts this fall.
Lara Ögel (b. 1987, Izmir, Turkey) lives and works in Istanbul. Ögel works in a variety of mediums from video, sculpture and works on paper to create site and context aware works. She is interested in site specificity and context specificity. Her wide range of production develops from a personal perspective and embodies larger universal concerns, often highlighting the vernacular of our time by using found objects and images and expending their contexts. She received her BA in Screen Studies from Clark University in Worcester, MA. Ögel attended the Intensive Summer Foundation at Slade School of Fine Art in London. She’s participated in artist residencies in PRAKSIS (Oslo) and Beirut Art Residency (Beirut). She’s shown works in Istanbul, Beirut, Hasselt, Paris, Leipzig, Basel, Athens, Porto, New York and Amsterdam, and her work has been reviewed in Artforum, Hyperallergic, ArtUnlimited, amongst others.
Woody De Othello (b. 1991 Miami) completed his MFA at the California College of Arts in San Francisco in 2017. He received his BFA from Florida Atlantic University with a concentration in Ceramics. Othello has exhibited widely in group exhibitions, including the recent FRONT International: Cleveland Triennial (2018) and the 33rd Ljubljana Biennial in Slovenia (2019). His work is on permanent view at the San Francisco International Terminal. In November 2019, Othello will have his first solo museum show at the San Jose Museum of Art. He is represented by KARMA in New York and Jessica Silverman Gallery in San Francisco. Othello lives and works in Oakland, CA.
Susanne M. Winterling (b. 1970) lives and works in Berlin and Oslo. She is an interdisciplinary artist who received her MFA from Meisterschulerin and is a former member of Hamburg collective Akademie Isotrop. Between 2012 and 2014 Winterling held a Goethe Institute residency in Caracas. She has had numerous gallery and museum solo exhibitions throughout the U.S. and Europe. Recently Winterling has been part of exhibitions at Kunstverein (Amsterdam), Lulu (Mexico City), Friedericianum (Kassel), GAK (Bremen) and Hiromi Yoshii Ropongi (Tokyo). Recent exhibitions and projects include Gravitational currents and the life magic, Empty Gallery HongKong; Barents spectacle, Kirkenes; Myths of the Marble, HOK Oslo and ICA Philadelphia; An Inventory of Shimmers, MIT List Boston, Contour Biennale 2017; Sitevisit, Kunstverein Freiburg; Complicity, Kunstverein Amsterdam; Tidalectics, tba 21 Vienna and MoMa Dubrovnik; Variations on time, Karma Ltd. Extended; Between Bodies, Henry Art Museum University of Washington, Luleåbiennalen 2018.
MOTHER NATURE: Elements and Archetypes
May 7 - July 20, 2019
Opening Reception: May 7th, 6-8pm
Curated by Isabelle Sorrell
“When we kept the lights on.”
William T. Vollmann
“Archaeological materials are not mute…
The images [of the Goddess] that existed for so long did not vanish. They are still there with us. …The meaning of life is discovered through creativity and the knowledge that we are interconnected with the entire natural world. When we deny this, meaning is shattered.”
In divisive times our collective subconscious manifests itself as a reminder to our common source:
In the beginning were the elements
And then dawned the awe of the above and the beyond. The sacred and life Giving life.
Water element, as in”if there is no water there is no life.”
Life as Mother Earth.
Mother Earth personified in mother-being. Giving life.
Water, warmth and Light
Wood and tree. Tree of life
Taken and –
left Coal, Ice and flying particles.
What happened to mother’s sacredness?
Anne Appleby, Lucas Foglia, Jane Ivory, Paul Kos, Isabelle Sorrell, William T. Vollmann
Anne Appleby: In an interview with Elli Ridgeway, Anne Appleby says, “Scientists are now discovering that aspens, willows, and other plants that grow in riparian zones (near waterways) have the ability to cleanse contaminates from the water, mainly heavy metals. These plants are now being used for river and stream restoration. The trees act not only as lungs for our planets but also as the kidneys”. And when asked if “art can play a part in educating people about the dangers of climate change”, she replied: “yes, I believe art can play a part in human awareness, it always has. My paintings require the viewer to slow down from a fast-paced digital world and allow themselves to enter the painting. Hopefully, this will enable them to see the beauty of the natural world, maybe the beauty of that world will change our awareness of how precious it is”. Anne Appleby was born in 1954 in Harrisburg, Pennsylvania and moved to Montana at age 17. She received her Bachelor of Fine Arts in 1977 from the University of Montana and embarked on a 15-year apprenticeship with an Ojibwe elder, learning to patiently and deeply observe nature. Appleby would watch and then translate into color the cycles of leaves, stems, buds, fruit, and seeds, transforming nature’s fluid evolution into two- dimensional portraits. Appleby received her Master of Fine Arts in 1989 from the San Francisco Art Institute and has since exhibited her paintings internationally to high acclaim. She has had solo exhibitions at the Tacoma Art Museum, 2018, the Ulrich Museum of Art at Wichita State University, Kansas, 2011, the Museum Ritter, Waldenbuch, Germany, 2010. In 2007 the artist was featured at the Villa e Collezione Panza, Varese, Italy, which commissioned a permanent major painting installation. Her paintings are in the permanent collections of the Albright-Knox Museum, the San Francisco Museum of Modern Art, the National Gallery of Art, the Denver Museum of Art, the Museo d’ARTE Moderna e Contemporea. Anne Appleby has received grants from the Pollock Krasner Foundation, the Western Arts Federation, and the Louis Comfort Tiffany Foundation; in addition she is the recipient of the SECA Award from the San Francisco Museum of Art, and the Northwest Biennial from the Portland Art Museum.
Lucas Foglia: Frontcountry (2006 – 2013) focuses on cattle and mining industries in the rural American West. The region is famous for being wild and the Wild West is part of our American Story. While the ranchers Lucas Foglia photographed were struggling to survive the economic recession and years of drought, almost anyone could get a job at the mines. Coal, oil, natural gas, and gold were booming. Lucas Foglia grew up on a farm in New York and currently lives in San Francisco. He completed his MFA at Yale in 2010. His photographs are widely exhibited in the United States, Europe, and Asia. Nazraeli Press recently published his third book, Human Nature, together with exhibitions at Foam Fotografiemuseum Amsterdam and Museum of Contemporary Photography in Chicago. Foglia’s prints are in the collection of Denver Art Museum, International Center of Photography, Museum of Fine Arts Houston, Victoria and Albert Museum, Philadelphia Museum of Art, and San Francisco Museum of Modern Art.
Jane Ivory: In her Coyote [skulls] as Landscape, the artist reflects on the immediate dilemma’s of wildlife (in life and death), and its spiritual aspects with its world of origin. In the Wood Ear and Tree Root, the emphasis is on the striations, bulges and indentations which in a larger scale would read as wind worn hillsides, rolling hills and/ or a cave. Jane Ivory’s inquiries into the fauna, flora and fungi takes the viewer closer or farther from the expected subject, but all within macro perceptions questioning our visual associations. Jane Ivory holds an M.A. Fine Art/Painting from UC Berkeley. She ran the art school in the Education Dept, SFMA and was the Sales Director at 2 San Francisco galleries before co-owning Ivory/Kimpton Gallery in San Francisco. In 2018 her work was included in exhibits at Image Flow in Mill Valley and the Center for Photographic Arts in Carmel (an online show.) In 2019 her work was included in another show at Image Flow, Mill Valley, CA.
Paul Kos: “The more coal burns the more ice melts”, states the artist. Kos’s materials, coal, water and ice speak in onomatopoeia: canaries chirping, drip drops and the sound of snow melt. Gathered from the coal country of his home town of Rock Springs, Wyoming, and in the High Sierras at Donner Summit, as well as in drought plagued Oaxaca, these concepts, sites and situations point to the fragile equilibrium of Mother Nature. Paul Kos was born in Wyoming. He received a BFA and an MFA in painting from the San Francisco Arts Institute and was part of the founders of West Coast conceptual art in 1968 with Tom Marioni, Terry Fox, Howard Fried and Bonnie Sherk. Paul Kos has been featured in numerous one person shows in the United States and in France and groups shows around the world. In 2003, “Everything Matters:Paul Kos, a Retrospective” was organized by Connie Lewallen and BAM/PFA and travelled to the Grey Art gallery, New York University, San Diego Museum of Contemporary Art and the Contemporary Art Gallery in Cincinnati. A publication accompanied the exhibition. In 2016, di Rosa Art Preserve exhibited Equilibrium, a survey of Kos’s work from 1968 to 2016. Paul Kos has received 5 NEAs, a Tiffany, a Guggenheim, a Rockefeller, a Flintridge, a Eureka, and a AVA award. His work is in the collections of various museums and foundations, including the Guggenheim museum, MOMA New York, The Whitney Museum, SFMOMA, San Diego Museum of Contemporary Art, the Louis Vuitton Foundation and the Kadist Foundation in Paris. Paul Kos has also produced numerous public Art works throughout the state of California. He taught for 7 years at the University of Santa Clara, CA, then 30 years at the San Francisco Art Institute and in 2008/09 he held the Dodd Chair at the University of Georgia in Athens. He was awarded a residency at the Rockefeller Foundation in Bellagio, Italy in 2015. He is represented by Anglim Gilbert Gallery in San Francisco and by Gallerie Georges- Phillipe and Nathalie Vallois in Paris, France.
Isabelle Sorrell: In current times, which so particularly stress individuality and the self, Sorrell has been drawn to its antipodes: our commonalities, and specifically how water, the water-source itself is at the core of life, our common origin. Mother-goddesses, (the black madonna, the goddess Isis, the Virgin Mary, Durga, Shakti or Tara), icons of mother-earth, have originated from all over the world and seem to attest to a shared belief; that which in earlier matriarchal societies stood in reverence to the magic-like properties of nature, nurturing and caring. Sorrell has her contemporary archetype in
GIVEN (water, gas and light), which could also be titled: Mother Was a Mountain. The artist holds an MFA in Painting from the San Francisco Art Institute, a certificate in painting and Graphic Design from Ecole de Sevres, Academie de Versailles, France, and a certificate in Literature from Trinity College, Cambridge University, England. She studied printmaking with Krishna Reddy at NYU, and Chinese calligraphy and Kung Fu in China, Hong Kong and Taiwan, the later became a major influence in her work. She taught at the San Francisco Art Institute, and at the Universitee de Lausanne, at the American College of Leysin, and at Art Center School of Design Annex, La Tour de Peilz, Switzerland. In 1995 she founded Frontier Press, which has produced artists books with intaglio and letterpress with texts from various poets. In 2010, she had a solo exhibition Latitudes and Longitudes at the Meridian Gallery in San Francisco. Her work is in the collection of BAM/PFA and in private collections.
William T. Vollmann: In the New York Times, John Schwartz reports “As one of the greatest challenges facing the planet, climate change deserves serious treatment by a great writer who combines deep reporting with a compelling literary style – someone who can explain the overwhelming scientific evidence of warming and its human causes, and of our need for action. William T. Vollmann would seem to be just the writer for the challenging project… As someone who writes about climate change…reading these books did have an effect on me; I became even more conscious of the resources I waste in my own life.” William T. Vollmann studied at Deep Spring College in California and received a BA in comparative Literature from Cornell University. He is the author of ten novels, including Europe Central, which won the National Book Award. He has also written four collections of stories, including The Atlas, which won the PEN Center USA West Award for Fiction; a memoir; and eleven works of non-fiction, including Rising Up and Rising Down and Imperial, both of which were finalists for the National Book Critic Circle Award. In 2018 Pinguin published his two volumes of Carbon Ideologies: No Immediate Danger and No Good Alternative. William T. Vollmann is also a war correspondent and has covered Afghanistan under the Russian occupation, Bosnia, Cambodia, Somalia, the Congo and Colombia. He has completed numerous limited editions of artists books which host photographs, drawings and paintings. He lives in California.