to Mar 2

Purgatory Road

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Purgatory Road

// featuring: Alexa Punnamkuzhyil / Ana Ratner / Ánima Correa / Christina Martinelli /Danielo Garcia / Ekaterina Leiva / Fallon Cecil / Philip Tomaru / Rob MacInnis //

The collective Amorphous Sculpture Salon is pleased to present Purgatory Road, a debut group show in Orange County, NY. Join us Saturday, 2/23/19, 12-6pm. Email amorphous.nyc@gmail.com to RSVP and get details.

Western culture has instilled a visual vocabulary for heaven and hell—one a place of beauty and brilliance, the other of suffering and dimly-lit despair. It’s difficult not to conjure thoughts of Dante’s Divine Comedy, demarcating the polar extremes of pain and pleasure with an interlude referred to as “Purgatorio” or in English, Purgatory.

Beyond the binary, within the seam of the subject, the liminal state is the point of entry for Purgatory Road, the debut exhibition by the New York City-based art collective, Amorphous Sculpture Salon. This exhibition reclaims the concept of Purgatory as an intermediary space or mediator between forms. A wealth of mediums including sculpture, performance, video, audio and found objects are utilized to communicate the artists’ self-ascribed abyss.

Throughout this immersive three-acre sculpture site in Orange County, NY, located about an hour from NYC, foreign objects intersect the otherwise frozen, still landscape. The unique geographical location of Purgatory Road serves as an immersive backdrop and provides context for the material. Sequestered with surreal specificity, Purgatory Road offers a distinct temporal communion, marrying each artist’s understanding of permeability, transgression, illusion, and desire.

Alexa Punnamkuzhyil - Punnamkuzhyil’s work juxtaposes the constriction of the human torso by the feminizing form of the corset with the methods and tools of rubber tree tapping, a practice which sustained her family’s rubber plantation in the years directly following the end of British Colonial rule in India. By constricting local trees by anthropomorphic means, she foregrounds the inherently bizarre nature between the expectations imposed upon things (human and otherwise) and the mechanisms invented to achieve them. By disrupting these pairings of product and by-product, she cites a rupture in this use-circuitry, turning instead towards one of fantasy and escape.

Ana Ratner - Some cats have one tail, some cats have two tails, my cat has half a tail. Sometimes Ana Ratner feels like she has half a tail too. Is half a tail enough? Sometimes Ana wants to find someone else with half a tail as well. When two halves of a tail come together to form one tail it's really hard to move unless the tail bearers think and act exactly like each other at every second. It's comforting to have a whole tail completed with another. This is the Tail of Two Kitties. Having half a tail is also okay. The need for a complete tail can be devastating - often it requires being sewn to another. Sometimes half a tail is quite enough. Ratner's work explores the permeable border between the internal and external, focusing on structures of support.

Ánima Correa - (-40.698470, 106.048558), the title of the work, represents the coordinates for the antipode of Campbell Hall, NY. A cone made of earth emerges from the ground, where the viewer stumbles upon a peephole at the top. Inside, an aerial view of lapping waves plays indefinitely, marking the opposite point, an undefined section of the south Indian Ocean. In contrast to the frigid forest climate surrounding the work, viewers are asked to stare through to the other side of the earth, creating both a temporal and spatial lapse.

Christina Martinelli - Much of Martinelli’s recent work is interested in communicating language through abstract yet decipherable code, providing a covenant between the work and the viewer that time spent with an image can lead to decipherability. By presenting the words as images she is proposing that the viewer see the inherent musicality, and universality, of words and the written language. Using semaphore because of its one-to-one relationship between symbol and letter, and because of its insistence on being either received or repeated, she presents a sculptural message which repeats and is received as long as the viewer is engaging with the work.

Danielo Garcia - Garcia is a multidisciplinary artist, who's work toggles between two extremes: intimate explorations, and the examination of universal power structures. Intimacy is materialized in text-based sculptural vignettes that expose some of our collective fears and desires; while power dynamics are confronted by questioning the selection of institutional archives and subverting the authoritative voice via performance video, photography and printed matter.

Ekaterina Leiva - Leiva’s work is a time-based sculpture made of ice with natural elements encapsulated in it. The work is a contemplative look at our difficult relationship with (ever-shrinking) time, and the utopian desire to freeze the passing moment and make it last longer. Ice temporarily connects all of the elements together and creates a transient environment for them to exist in the arranged order while slowing down their decay. During this passage from ice to vapor, the sculpture’s appearance is modified by weather and wildlife. The work, in turn, leaves a trail of offerings to the landscape as ice melts, until the sculpture and the environment obtain oneness and are no longer distinguishable.

Fallon Cecil - Not a Wolf Not a Dog draws on the tropes of the New York art scene and industry to create a performance-activated installation. A white exhibiting space disrupts the isolated natural wood surroundings along Purgatory Road in Orange County, NY. Borrowing from both natural and synthetic environments to create a “neither here nor there” space. Four performers will use the structure and surrounding area to carry out the absurd task of making. While referential, the experience is not “simulated”. Much of Cecil’s work delves into the psychology of contemporary encounters, relying on the implementation of memory and the representation of actual events through performance and installation. She uses real and manufactured content to create a living allegory.

Philip Tomaru - Tomaru lives in close proximity to the many galleries in the Lower East Side of Manhattan, where he bears witness on a daily basis to relentless movement of capital, commerce, culture, and trash. His work features an installation of discarded painting palettes sourced from a neighborhood sidewalk. He hopes the recent snow will linger just long enough to provide a crisp white background for the paintings.

Rob MacInnis - Macinnis creates a moment of completion between two disparate figures and phenomena, a tree and a Seismic Growl. Streaming a live audio feed of seismic activity deep in the Pacific Ocean, and playing the audio vibrations directly into the body of a tree in New York State, he will open a temporary communicative portal of unexpected transference.

Amorphous Sculpture Salon is a New York City-based art collective. Purgatory Road, taking place in a private estate in Orange County, NY, is the debut exhibition. For inquiries email amorphous.nyc@gmail.com or visit www.amorphous.nyc. Follow @amorphous.nyc on IG.

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to Sep 24

Open Syntax #2

MoMA PS1 Art Book Fair, table N51

22-25 Jackson Ave on 46th Ave, Long Island City, NY

September 22-24 - free and open to the public

Preview September 21, 6-9pm -$10 entry

Open Syntax #2 is a curated selection of books and small objects presented at Open Project’s table N51 at MoMA PS1 Art Book Fair. I will have small sculptural objects on display and for sale. 

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Open Syntax #1: Exit Strategy
to Sep 30

Open Syntax #1: Exit Strategy

Open Syntax #1: Exit Strategy

ALPHA Artspace: 292 E. 3rd Street #1B (Avenues C & D), New York, New York, 10009

Opening Reception on Saturday, September 16th 6-8pm. On view through Saturday September 30th. 

Artists: Ekaterina Aksenova, Alva CalyMayor, Florencia Escudero and Michelle Claire Gevint. 

Curated by Danielo Garcia. 

The inaugural iteration, "Open Syntax #1: Exit Strategy" is a group show that establishes dialogue with international artists now working in NYC. A fluid approach around "exit/no exit" as a way to address our fight-or-flight instinct.

Ekaterina Aksenova works predominantly in the medium of sculpture and utilizes a wide range of materials such as paper, plaster, ceramic, wood, etc. She graduated with Bachelor of Arts from Hunter College, NYC in 2013. During the past years, Ekaterina participated in exhibitions in the NYC area as well as abroad in Russia and Japan. Her most recent works have been greatly inspired by the experiences and limitations of the human body. In attempt to reexamine the boundaries of the personal space, Ekaterina's works inhabit the physical space and claim its interior with patterns made up of cast body sections. Born in Voronezh, Russia, she now lives and works in New York City.

Alva makes use of a visual vocabulary that addresses social issues, perceptions of safety as well as patterns of mass consumption. She keeps track of its manifestations and the trace they leave as they are discarded, repurposed or become no longer functional. Her work has been exhibited in: Astral America (curated my Keren Moscovitch, SVA, NY), Chaos/Control (curated by Melinda Wang, Doing Living, NY), Harvest the Night (curated by Leah Dixon, Beverley's, NY), Collective Show Mexico (Casa Maauad, México, D.F.), Spring Break Art Show (NY), at MWOW (curated by Grayson Cox, Knockdown Center, NY). Alva was one of five artists selected for ("Air," Ace Hotel Residency, NY), curated by the BHQFU. She was a Mentor in NYFA's Program Mentorship for Immigrants Program (2014), formed part of the 27th Bronx Artist's in the Marketplace during 2006-2007, and received a Grant from the Stephen Sprouse Scholarship Fund for pushing the boundaries within the printmaking field. Alva has been recognized in several publications for exploring and showcasing art in a non-commercial format, for her collaborations with fellow artists through Eyelevel BQE, project that she co-funded in 2008: Interview Magazine (2013), "Alternative Histories," New York art spaces from 1960-2010, MIT Press (2012), Artists in the Marketplace second Biennial; "The Other Marketplace," Lia Zaalof (2013).  

Florencia Escudero was born in Singapore and was nationalized and raised in Argentina. She has lived and traveled extensively throughout the world and is currently based in New York. Her practice encompasses: sculpture, photography, video, and curating. She is also the Co-Founder and co-Editor of Precog Magazine. Florencia has a Master of Fine arts from Yale University (2012) and Bachelor in Sculpture from The School of Visual Arts in New York (2010). 

Michelle Claire Gevint is an Israeli-American interdisciplinary artist currently based in Brooklyn. She obtained her BFA from Bezalel Art Academy, Jerusalem and resided to NYC after receiving a scholarship to complete her MFA at Parsons The New School for Design. Selected exhibitions and residencies include: The Bronx Museum of Art, AIM Biennial, Fridman gallery, NYC, NYABF MOMA PS1, Laznia Museum, Poland, Trestle Gallery, NY, Hermitage Museum, Russia, Beijing Design Festival, China, Auckland Photo Festival, NZ, Sotheby's Chicago, MICA, Baltimore, G91, NY, Marble House Residency, VT, VSC, VT. Her work has been featured in publications such as The Chicago Sun Times, Recinema catalogue, Sidney College of Arts and Arts Culture Beat, online Columbia University blog, Art Fuse and The Berkshire Eagle.




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to Mar 10


Opening reception: January 27th, 7-9pm 

On view through March 10th


Brooklyn Brush

203 Harrison Place

3rd Floor - Suite 301

Brooklyn, NY 11237

Please find more info here:




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6:00 PM18:00

Off-Site Channeling

Territorial Behavior

Exhibiting Artists : 

Ekaterina Aksenova
Claire Falkenberg
Christina Martinelli
Alexa Punnamkuzhyil

Curated by Danielo Garcia / Open Projects

Opening Reception: Saturday Dec 10, 2016 - 6pm-9pm
On view: Dec 10 - Jan 1, 2016
Show hours: Sundays 1-4pm and by appointment. 

When invisible currents meet at a given location the resulting convergence may trigger the bodily frequencies of an individual. Even after migrating from that location, this convergence may leave a lasting impression on us. We experience it, absorb it and it becomes part of us. Off-Site Channeling is a group show featuring works that may be read as channeling to a certain location or unknowable state of being, leading to their particular physicality.


Ekaterina Aksenova works predominantly in the medium of sculpture and utilizes a wide range of materials such as paper, plaster, ceramic, wood, etc. She graduated with Bachelor of Arts from Hunter College, NYC in 2013. During the past years, Ekaterina participated in exhibitions in the NYC area as well as abroad in Russia and Japan. Her most recent works have been greatly inspired by the ideas of assimilation and inclusion. By examining personal identity, Ekaterina works attempt to inhabit the physical space and claim its interior with patterns made up of sections of the body. Born in Voronezh, Russia, she now lives and works in New York City.

Claire Falkenberg has been awarded grants from the Canada Council for the Arts, Ontario Arts Council, and the Sheila Hugh Mackay Foundation; fellowships from Willapa Bay AiR, and Ucross Foundation; residencies from Vermont Studio Center, La Fragua Artist Residency, and Chashama North. Recent exhibitions include Dose Projects, Brooklyn, NY; Katharine Mulherin Contemporary Art Projects, Toronto, Canada; Campbell River Art Gallery, Campbell River, Canada; Inman Gallery, Houston, TX. Claire Falkenberg was born in Toronto, Canada, and now lives and works in Brooklyn, NY.

Christina Martinelli received her MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art in 2010 and her BA with a focus in Visual Art from Bennington College in 2008. She has exhibited at Conner Contemporary, Washington, D.C.; Open Space, Baltimore, MD; Endless Chinatown, New York, NY; Pent House Gallery, Baltimore, MD and others. She has attended residencies at SÍM Residency, Reykjavik, Iceland (2016); The Kimmel Harding Nelson Center for the Arts, Nebraska City, NE (2016); and The Wassaic Project, Wassaic, NY (2015). Born in New York City, she lives and works in Brooklyn, NY.

Alexa Punnamkuzhyil is an interdisciplinary artist whose work engages the poetics of biological and social systems. Drawing on scientific inquiry and medical discourse, her work examines structures of sense and sensation between people, plants, animals and things. She is a graduate of Oberlin College and the University of California, Berkeley. Born in Baltimore and raised in Northern California, she currently lives and works in Brooklyn, NY.

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7:00 PM19:00

Body Language


Collaborative project by Ekaterina Aksenova and Amela Parcic
 Opening Reception
 Wednesday, July 27th , 7-10 pm

Closing Reception
Wednesday, August 17th , 7-10 pm
Musical Performance by Amela Parcic and Danny Crump begins at 8pm

 STUDIO 34 Gallery
34-01 38th Ave, 4th Floor, Long Island City, NY


Body Language is a collaboration between Amela Parcic and Ekaterina
Aksenova. Using a combination of sculpture and video projection, we
investigate the architecture of the body and how it occupies space.
Becoming more and more transient, people are no longer tied to any
particular place in the world. Our body is the most permanent home we
 have, our identities are no longer fixed to a particular place.
Language then becomes the main distinguishing part of our identity. In
sculpture, the process of recreating an object in another material
often transforms its physicality and the end result is never quite the
same as the original. As it does in the translation of a sentence from
one language to another, the loss and gain of information that occurs
in the process of reproduction is the point of departure for this
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to Jul 2

Light is Dark

Ekaterina Aksenova’s installation of sculptures is titled “Cave Dwellers”. It is a meditation on visual perception that questions what it means to really “see”. The title references Plato’s philosophy “Allegory of the Cave” where he is proposing the idea that what we believe is real might be just an appearance of the reality. He writes a story about the cave prisoners who are chained and unable to move their heads. Throughout their entire lives they have been facing a blank wall in front of them. They are convinced that the reality consists of only the shadows that are cast on the wall until one prisoner is freed and realizes that what they have been looking at throughout their whole lives was a mere projection of the world and not the world itself.

Unlike in Plato’s cave, the installation reflects a world of people whose visual senses are oversaturated with visual information. They reflect the laborious burden of looking but still fail at “seeing”. They demonstrate the need for reflection and show that facing the right side of the cave is still not enough. To “see” they must turn to other senses and find new ways of experiencing the world around them. 

Facebook Link to the event: https://www.facebook.com/events/1745302559046635/?ti=icl



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to Nov 11

"БРУРАЛ: Оболочка Свободы. Сломано/Сделано"

  • Нижнетагильский Музей Изобразительных Искусств. (map)
  • Google Calendar ICS

 The second exhibition "BRURAL: Skin of Liberty. Fractured/Re-structured"  will be held in Nizhny Tagil Museum Or Art in Russia. The exhibition will run parallel with the III Ural Industrial Biennial of Contemporary Art. 


Нью-Йорк и Нижний Тагил, казалось бы, два совершенно разных и далеких друг от друга города: один - грандиозный мегаполис, другой – небольшой индустриальный город, расположенный в середине России, но и у них есть точки соприкосновения. В Нью-Йорке наверняка мало кто знает о том факте, который упоминается во всех туристических путеводителях по Уралу, согласно одной из версий - знаменитая статуя Свободы сделана из меди, добытой на тагильских рудниках, принадлежащих промышленникам Демидовым. 
Развитие демидовских железоделательных и медеплавильных заводов, известных под торговой маркой «Старый соболь», привело к мировой известности нижнетагильской продукции. Листовая медь из Нижнего Тагила была отмечена наградами на Всемирных выставках в Париже и Бирмингеме, а затем привлекла внимание скульптора Ф. Бартольди, закупившего медные листы для создания наружной оболочки Статуи Свободы в Нью-Йорке.
Название проекта «БРУРАЛ: Оболочка свободы. Сломано\Сделано» двухчастное, и если "Оболочка свободы"- это история про медь для статуи свободы, то вторая часть"Сломано\Сделано" отсылает к творческому методу, которого придерживаются приглашенные художники – это эстетические эксперименты, предметом которых могут стать руины вещей и идей, газеты и журналы, городские пространства и архитектура и т д. Для проекта были приглашены тагильские и американские художники, представляющие различные творческие стратегии, формы и технологии современного искусства. Объединяющим фактором стали эстетические эксперименты с визуальными вариациями современной реальности. Художники берут как своего рода readymade индустриальную и постиндустриальную культуру, пространство новых медиа или современные социальные контексты. Во вторичную (художественную) переработку годится все: городское пространство и архитектура, мусор, газеты и журналы, руины вещей и идей. Художники своей волей, часто следуя партизанскими методами, изменяют саму суть явлений и предметов, меняют их структуру, тем самым проявляя новые смыслы.
На выставке будут представлены работы художников из Нижнего Тагила и Нью-Йорка в жанре видео, фото, коллажа и инсталляции.



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to Aug 23

Archimedes' Bathtub

Archimedes’ Bathtub is a show of work by the New York Foundation for the Arts (NYFA) 2014 Immigrant Artist Mentoring Program curated by Julian A. Jimarez Howard. 

Opening Reception and block party: Saturday, August 8, 2-6pm
On View: August 8 - August 23, 2015
Gallery Hours: Thursday - Sunday, 1-6pm

Featured artists include:
Ekaterina Aksenova
Julio Austria
Karine Baptiste
Cândida Borges
Liene Bosquê
Alva Calymayor
Natalia Cavalcante
Sophia Chizuco
Helen Dennis
Katya Grokhovsky
Kiana Honarmand
Denise Iris
Mersiha Mesihovic
Ido Michaeli
Suyeon Na
Eva Nikolova
Amela Parcic
Sepideh Salehi
Runn Shayo
Claudia Sohrens
Denise Treizman
Tuo Wang

Archimedes’ Bathtub takes its name from the over 2000 year old tale in which the storied Greek scientist discovered the answer to a question regarding the purity of a King’s crown by observing the rising of water as he settled into his bathtub; realizing that the phenomenon of aquatic displacement was a metric for determining the volume, then density, and subsequent purity of the State’s embodiment, Archimedes ran naked and jubilant through the streets shouting “Eureka!” This is often presented as a narrative of singular genius in service to mathematics (or a sovereign), however, it can also be seen as a metaphysical parable in which an individual can better observe the volume of their being in the displacement of that which surrounds them. 

By using the more novel assessment of volumetric displacement as a metaphorical guidepost, this expansive exhibition brings together the work of 22 foreign born artists, all participants in the 2014 edition of the NYFA’s Immigrant Artist Mentoring Program. Ranging in mediums, the politics of space and body eke themselves through sculpture and drawing, through videos, installations, photographs, paintings, and performances. These varied works vividly assert themselves as comments on the textured shape and fragility inherent to societal notions of reality, while simultaneously reflecting the idiosyncrasies of the commenter’s own filtered view as strangers in a strange land. Indeed, the artworks then, are the observed effect of our own displacement wading through the muddy waters of culture.

Show organizers:  Sophia Chizuco and Liene Bosque






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