Final Weekend at Theater of the Mundane: Solo Show by Katya Grokhovsky

Katya Grokhovsky, Theater of the Mundane (Image: Walter Wlodarczyk)

The weekend of September 29-30 marks the final days of Theater of the Mundane : a site-specific multi-media installation by Katya Grokhovsky presented at chashama space to present, 273 Bleecker Street in Manhattan. Known for her evocative installation, performance and video works, Grokhovsky collapses her kaleidoscopic practice into this survey of her work, exploring the absurdity of the human condition through sculpture, assemblage, collage, video and

Katya Grokhovsky, Theater of the Mundane (Image: Walter Wlodarczyk)

Examining society’s brutally intoxicating consumerism and insatiable desire for material goods, Grokhovsky examines the broken dreams and isolation that these objects sustain. Echoing rampant consumerism itself, and the posession of myriad discarded objects, Theater of the Mundane deconstructs and devours the artist’s own past artworks and highlights the eternal human longing for connection. Hosted by chashama at the cavernous 273 Bleecker street space, Theater of the Mundane offers an immersive experience traversing sculpture, performance and new media.

Katya Grokhovsky, Theater of the Mundane (Image: Walter Wlodarczyk)

The exhibit is on view from Sept 14th-30th, Tue-Sun from 12-6pm with a closing reception: Sunday 30th September 2018, 6-9 pm and is free and open to the public.



Groundbreaking Performances Mark THE EAR’s Anniversary on Sept 30

Thea Little at The Ear, 2017, (photo by Polina Riabova)

Sunday, September 30th marks a one year celebration of groundbreaking performance art at The Ear (255 Boerum Street #1, Brooklyn.) A yEAR at the EAR features performances by artists Raki Malhotra, Thea Little, Polina Riabova and Esther Neff alongside installation, art and videos by Mariya Dimov, Sandra Kelly, Jazz Coker, Diane Dwyer and Jenna Kline. Doors open at 5 pm, with performances from 6:30-8:30 and a VJ set by Kira DeCoudres following at 9 pm. The one-year anniversary fun fest ranges from $5-20/ticket suggested donation. Zines will also be available for sale, including PLASTER COCKTAIL, Marietta Magazine and zines by gothlime. The Ear is a DIY community art gallery and performance venue geared towards creating a neutral space for women and non-binary artists with a focus on showcasing new and experimental work, and this event promises to be one of the most compelling held at the space in its one year of programming!

Nicole Goodwin at The Ear, 2017, (photo by Polina Riabova)

Raki Malhotra is an interdisciplinary artist from Toronto currently living in Brooklyn whose work relates to self-psychology, pop culture, and issues of identity. Artist Thea Little investigates the hybrid of performance art, dance-theater and experimental vocals through creating and performing solos and directing group works. Polina Riabova is a Brooklyn-based poet, writer and performance artist originally from Kupavna, Russia. She curates The Blue Rose series and is Editor-In-Chief of PLASTER COCKTAIL zine. Esther Neff is the founder of PPL (Panoply Performance Laboratory), a flexible collective, organizational entity, and experimental philosophy research group. One year ago, in August 2017, The Ear hosted the soft-launch of PLASTER COCKTAIL zine with an event that was curated by Polina Riabova and featured the striking work of recent Franklin Furnace honoree Nicole Goodwin: Ain’t I a Woman. Thea Little & Oya Damla also participated at this event, which also included readings by Deirdre Coyle, Stephanie Maida and Polina Riabova, video & installation by Kelsey S. Brewer and sculpture & installation by Mariya Dimov.

Polina Riabova at The Ear, 2017 (photo by Kelsey Dickey)

The Blue Rose series takes place at the EAR periodically, which strives to bring artists of diverse art practices together with the added focus of introducing new audiences to performance art by mixing together performance, readings and multimedia art. In July of this year The Blue Rose Presented Detox, which was the fifth official installment of the series. Founded by Oya Damla in 2017, The EAR has become a pivotal space for creatives to gather and perform in an intimate, comfortable venue with backyard and cash/Venmo bar. Since its inception it has hosted 7 performances, and has grown to be known as a staple for sound, performance & interdisciplinary arts in Bushwick. This one-year anniversary of The EAR is also notable as it takes place during Bushwick Open Studios! Don’t miss your chance to experience the best of what the EAR has to offer on Sunday, Sept 30 from 5-10 pm.

Celebrate One Year of re:nü jübilæum 9/28!

In a special first anniversary, two-part event, Jeffrey Thomas & Jordan Sinclair’s re:nü jübilæum presents a meticulously curated set of live music, art, fashion and DJs. Featured by world-renowned artists Julia Sinelnikova, Julio Cesar Williams, and Nikki Shapiro along with a live sound installation by GIA b2b VVEISS and fashion by ËNKÖGNÏT, re:nü jübilæum vol. 1 takes place from 6-10 pm at Refuge Arts, 80 Vernon Ave.

Julia Sinelnikova, Narkadine (2016) Hand cut mylar, fiberglass and LED projections, image courtesy the artist

Sinelnikova, a renowned interdisciplinary artist, has been featured in the New York Times, Wall Street Journal, and many more. She has also designed installation artworks and set pieces for Juliana Huxtable and Machinedrum, among others. Williams explores image making on the internet, his works cleverly evolving through different visual media, while Shapiro’s abstracted figures examine the timeless presence of the human figure.

Julio Cesar Williams, SOME ACCUMULATED SUFFERING DENOTED BY COAGULATED TIME, 2017 (oil on canvas, 40 x 50 in) image courtesy the artist

re:nü jübilæum vol. 2, taking place at Ceremony224 (224 Manhattan Ave) from 10 pm to 4 am features Bergsonist (bizaarbazaar), Becka Diamond (Hospital Productions), and Confines DJ’ing while live music will be on offer from Lunacy and L’Avenir. Bergsonist samples the expanded field, integrating the distilled essence of fleeting moments into their sets. Diamond, a NYC DJ and label manager at Hospital Productions, crafts unexpected dance landscapes, and has performed at Berghain, Warsaw, Output, and more. The deep electronic cuts of Lunacy and L’Avenir’s minimal wave will be there to shake you til the morning light.

EISHA - live set at Ceremony, renÅ lÅnos 7.26.18, photo by Jordan Sinclair, ig @sang_noir
EISHA – live set at Ceremony, re:nü lünøs 7.26.18, photo by Jordan Sinclair (ig @sang_noir)

Tickets are available for vol. 1 ($10 suggested donation) and vol. 2 ($10 adv / $15 door), with a special VIP Package available for $25 while availability lasts at the door at Refuge Arts.  Don’t wait as tickets for this one of a kind nü year annivesary party won’t last!

Fresh Takes at 01: Never Mind the Bullocks, Curated by LatchKey Gallery


Reality, augmented or otherwise, is delightfully stranger than fiction at 01: Never Mind the Bullocks, curated by LatchKey Gallery‘s Founders, Natalie Kates and Amanda Uribe, at Chashama’s One Brooklyn Bridge location. On view through Oct 21st, the exhibit features four contemporary artists working on the boundaries of modern perspectives. Darryl Westly, Inna Babaeva, Steven Fragale and Toby Barnes all create works for the exhibition that obscure and/or redefine reality. From examining absence in figuration to producing new dimensions of representation, the artists on view take expectation and turn it squarely on its head. At first glimpse the four artists seem decidedly divorced from one another’s practice, until further examination reveals that each artist re-examines objects and scenes that the viewer takes for granted, re-contextualizing the known and burying it deep into the crevices of the unknown until it springs anew, a hybrid and resplendent thing.


Darry Westly, born in Chicago and currently based in New York City, is a renowned international painter who creates illusions of flattened planes in otherwise realistic scenes. Frequently alluding to classical art history references, Westly’s unique blend of Pop Art and figuration herald a new manner of representing in the post-photo manipulation era. Soft pastel hues cradle the outlines of missing figures, collapsed planes of a hybrid reality. Westly’s masterful brushstrokes press against the glass of reality, turning perception around on an unsuspecting viewer. His work disorients as it transcends.

Steven Fragale‘s interactive paintings delight and confound, taking the viewer off the canvas and literally into thin air. Fragale, who lives and works in (and is originally from) New York, takes his work out to the viewer in a custom-built app that accompanies each of his paintings. Extending the composition out into new dimensions using augmented reality, Fragale leaves no stone unturned: examining our reliance on the digital and its intrusion into everyday lived experience.


Toby Barnes is an interdisciplinary artist whose installation and mixed media work collapses what Hito Stereyl aptly termed the “poor” image makes a frequent appearance in the patterns of Barnes’ works, writhing these mobile phone images into dizzying, hypnotic compositions. Born in Miami, and living and working in Amherst, Mass, Barnes has exhibited in an exciting array of venues including PS1, Queens Museum, and NADA among others. Barnes creates symmetric compositions, delineating the lines and populating each section with glimpses of skin, abstracted figure. Abstract and figurative meld into one another, proving impossibly inextricable in the final image. Barnes’ installations and two-dimensional, mixed media works combine the immediacy of Pop with a considered, measured investigation into a thoroughly contemporary view of the image as raw material.


Perhaps most surprising is the inventive work of artist Inna Babaeva, a Ukrainian-American artist based in Long Island City, Queens. Reformatting everyday objects into magnificently mischievous items. Bulbous forms formed in glass break the lines of rows of October magazines and perch saucily on wheels close to the ground. They lie luxuriantly on stacks of paper, sneaking glimpses at passersby from corners of the exhibit. Never has glass possessed such a gestural, anthropomorphic quality. Babaeva’s works re-animate post-industrial materials into new figments of the visitor’s imagination.

01: Never Mind the Bullocks is a fearless investigation into what contemporary art can evolve into, and how it can grow into new forms of inquisition and self-reflexivity. The exhibit is on view at One Brooklyn Bridge (360 Furman Street, Brooklyn) through October 21st, curated by LatchKey Gallery (173 Henry Street in Manhattan) & location courtesy Chashama.

The Fourth Stage opens at IFAC@The Yard Delancey on Monday, Sept 17


Martin Durazo “Untitled (Berlin works)” 2016 Acrylic on metallic pape

International Fine Arts Consortium, or IFAC, is celebrating a full five years of experimental and boundary-pushing arts at The Yard (85 Delancey Street, New York, NY) with The Fourth Stage: Abstract Theory and the Silver Lining of Allegorical Necessity.  This group show of artists explores abstraction from a myriad of contemporary perspectives. The exhibit is curated by Eric Friedmann, Sozita Goudouna, and Lee Wells, and artists on view include  Eugenia Apostolou, Martin Durazo, Maria Fragoudaki, Eric Friedmann, Yioula Hadjigeorgiou, Sofia Housou, Dana James, Kathryn Karwat, Douglas Ward Kelley, Peggy Kliafa, Christine de Lignieres, Bernd Naber, Lindsey Nobel, Leoandros Pigades, Lina Pigadioti, Mahy Polymeropoulos, João Salema, Ashley Taraban, Li Trincere, Johan Wahlstrom, Agni Zotis.

Agni Zotis “Portal” 2018 light sensitive pigments on canvas

Gravitating toward Baudrillard’s infamous statement that, “today, reality is itself hyperrealistic,” the exhibit leads into a dissection of the concept of Supermodernity. Constructs such as “location,” “subject” and “meaning” are explored through various artists who explore line and form absent of figuration. The exhibit also takes a conceptual glance at the lines between reality in the direction of so-called “fake news” by questioning where truth influenced art-making, if it ever did. Curator Lee Wells notes, “An art evolved from various forms of perceived purity and truth, aesthetically beautiful but not politically correct. An art which leaves the real world behind for many good reasons, for the things in common rarely outweigh the differences. All of this in turn offers us the liberty to reassert meaning in the fourth stage.”


The curators offer their special thanks to The Yard and Art Program Director Michaeline Sanders. A reception will be held at The Yard Lower East Side (85 Delancey) on Monday,  September 17th from 6-8 PM

Viewing Hours: 10:30-5:30 Monday through Friday and by appointment.