The Last Day
ON VIEW: November 7 to December 14
Pioneer Works is pleased to present Bosco Sodi’s The Last Day, a site-specific 57 ft. long polyptych. Created with silver pigments and organic materials, the work questions the fast deterioration of our planet and the impermanence of life – one of the essential Buddhist doctrines: all of conditioned existence, without exception, is transient, in a constant state of flux.
Bosco Sodi (b. 1970, Mexico City) is known for his richly textured, vividly colored large-scale paintings. Sodi has discovered an emotive power within the essential crudeness of the materials that he uses to execute his paintings. Focusing on material exploration, the creative gesture, and the spiritual connection between the artist and his work, Sodi seeks to transcend conceptual barriers. Sodi leaves many of his paintings untitled, with the intention of removing any predisposition or connection beyond the work’s immediate existence. The work itself becomes a memory and a relic symbolic of the artist’s conversation with the raw material that brought the painting into creation. Sodi’s influences range from l’art informel, looking to artists such as Antoni Tàpies and Jean Dubuffet, to master colorists such as Willem de Kooning, Mark Rothko, and the bright hues of his native heritage.
Photo by Kevin Kunstadt
The Women of Marwencol
ON VIEW: November 7 to December 14
In conjunction with its release of “Women of Marwencol: Recent Photographs,” a limited edition by artist Mark Hogancamp, ESOPUS will co-present an exhibition of Hogancamp’s recent works. The exhibition, Women of Marwencol, will feature large-scale prints related to the images reproduced in the ESOPUS edition along with other photographs—curated by Janet Hicks, director of One Mile Gallery in Kingston, NY—ranging from early works documenting the fascinating origins of the town to brand-new photographs by Hogancamp featuring life-size mannequins. Pioneer Works will also present a screening of the 2010 documentary Marwencol (directed by Jeff Malmberg) on Saturday, November 15th at 7pm followed by a reception.
Send Blank Tape
Radical Software magazine and early video distribution networks
An installation of early video art at Pioneer Works curated by Liz Flyntz
ON VIEW: November 9 – November 30
“Since only the user is in a position to know what is relevant for him and
how he wants to access relevance and information, exchange must include the user from the beginning.” -Paul Ryan, “InfomorphOne: Organization of Ignorance” Radical Software 1(3)
This installation mines Radical Software, the first periodical devoted to video, to present a survey of some of the very earliest video art in existence. In the earliest days of video, the lines between art, documentation, journalism, and experimentation were either not yet existent or intentionally blurry. The community of exchange that Radical Software facilitated was notable for the unusual intersection of hybrid practices and ideologies including radical pedagogy, feminism, left activism, gonzo journalism, experimental art, and erotica. The installation is in the spirit of the early 70s Friday-night video screening parties held in the Prince Street SoHo loft inhabited by members of the video art collective Videofreex. Included are works by the aforementioned Videofreex, as well as individuals and collectives such as Raindance, TVTV, Ant Farm, John Reilly, People’s Video Theater, and Ladies Home Journal.