Name: Second Sundays: August 2017
Start: 2017-08-13
End: 2017-08-13
Location: Pioneer Works

Food and Beverage by Red Hook Snack Bar, Pintail Coffee, and PW Bar.

Second Sundays

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Food and Beverage by Red Hook Snack Bar, Pintail Coffee, and PW Bar.

August '17

Second Sundays is a free event series that engages Pioneer Works disciplines through live music, food, artists’ open studios, and interactive programs.

Using remnants bequeathed by The Metropolitan Museum of Art, Jean Shin’s MetaCloud explores the fragility of institutional memory when faced with the transition from analog to digital imagery. As of only one or two generations ago, the art world predominately used 35mm slides to document artwork and exhibitions, filling countless carousels, projectors, and cabinets in a desire to archive and disseminate the history of art. Today’s ubiquitous and low cost digital imaging, however, has motivated major cultural institutions to digitize their slide libraries, consequently rendering vast collections obsolete. Shin has strung together thousands of individual slides into a large-scale installation intended to reconstruct the systems of categories, hierarchies, and chronologies that once contextualized these archives. The installation will also include slide projectors showing selected images from these archives. 

The title MetaCloud references meteorology, wherein the term ‘cloud’ suggests a visible mass of minute particles captured in the atmosphere. Similarly, the installation hovers over the gallery space, presenting thousands of finite units that paradoxically represent an ephemeral form. Analogous to the so-called online ‘cloud’ of digital storage, MetaCloud insists upon the physical objecthood and order that were inherent to slide libraries. Shin invites viewers to contemplate the inner worlds within each frame, and to consider the loss of context and resolution brought forth by the reduction of materials to data bits. 

In addition to the Met’s collection, Shin will be requesting donations from the artist’s own community to create a new archive of 35mm contemporary art slides at Pioneer Books (289 Van Brunt Street in Red Hook) and Cristin Tierney Gallery (540 W 28th Street in Chelsea). Shin’s personal collection of slides, dated from the 1990s through early 2000s, will also be included in the exhibition’s programming. By creating a new body of contemporary art slides, which notably contrasts with the Met’s institutional records, MetaCloud maps and makes visible a community of professional artists that is more inclusive of gender, ethnicity, and generation. 
MetaCloud is a satellite exhibition of Materials for the Arts' exhibition Institutional Memory: 35mm Slides from the Met's Collection organized by Hallie Bahn and Omar Olivera of Materials for the Arts and Marco Castro Cosio formerly of the Met Media Lab. With additional support by the Pratt Institute Faculty Development Fund.

Jean Shin: MetaCloud

Eric Timothy Carlson worked out of a studio at 2 Apollo Street, in Greenpoint, Brooklyn, for three years. This studio inevitably worked its way into his process—subconsciously dictating objects and materials, while architecturally determining scale and constraint. Carlson thinks of his studio space as a sort of domestic apparatus that acts as a container and catalyst for his art-making.

On view in 2 Apollo is an assemblage of the most symbolic nodes of his studio, in which he also slept, read, and ate. This installation contains his desk, marble slabs, and his bookshelves, as well as an accumulation of trinkets picked up along the way: a rusty sickle, an old bucket, and an opium pipe from Hong Kong. Framed, finished drawings are hung throughout, as is a mobile made from conduit found in the basement. A digital print of Zuccotti Park hangs in the corner. It is a screenshot of a live stream of the dismantling of Occupy Wall Street. He watched this happen just a few months after moving to New York in 2011.

Eric Timothy Carlson: 2 Apollo

Kenya (Robinson) is a community-taught artist from Gainesville, FL. A past resident of the Lower Manhattan Cultural Council’s WorkSpace Program, the Bemis Center for Contemporary Art and the Triangle Arts Foundation, she begins her residency at Pioneer Works in May 2017. A member of the 2014 class for the Skowhegan School for Painting and Sculpture, she currently hosts #ST4NKLOV3, a live stream radio show produced by Clocktower Productions. In addition, her sculptural work has been exhibited at the Museum of Contemporary African Diasporan Arts, the Brooklyn Academy of Music and the 60 Wall Street Gallery of Deutsche Bank. Her sculpture, Commemorative Headdress of Her Journey Beyond Heaven, was acquired by the Smithsonian National Museum of African American History and Culture for their permanent collection in 2014. She has presented performance work at Sid Gold’s Request Room; MoMA PS1; JACK; The Kitchen; Thomas Hunter Project Space; The Museum of Modern Art. And, in 2011, her durational project, The Inflatable Mattress, was featured in the Home Section of The New York Times. (Robinson) has been a contributor to The Huffington Post and Intercourse Magazine. Most recently, she was included in the October/November 2016 issue of Modern Painters with her essay, “The Fate of Excellence”, and was the inaugural resident for Recess Arts’ online residency ANALOG. An iteration of her Creative Capital funded project, CHEEKY LaSHAE: Karaoke Universal, will be included in the Out of Line Series for the High Line during the Summer of 2017.

Kenya (Robinson)

Founded by artists Jill Pangallo and Alex P White, SKOTE is a performance collaboration dedicated to the movement arts, and the politic of otherness. SKOTE are directors, choreographers, designers and performers. Their work is a hybrid of dance for camera and video installation with a distinct style rooted in the queer history of camp, mime, clowns and 70’s pedestrian movement practices. SKOTE believes speaking through an/other's voice is the contemporary condition and that we are all media constructions - recorded, reordered, coded and decoded, duplicated ad nauseam - a type of decay they appreciate and study. Based in New York City, SKOTE has performed, shown and screened internationally in galleries, nightclubs, public spaces and theaters since 2006. SKOTE most recently performed at Socrates Sculpture Park, Judson Church with Movement Research, Bodega Gallery, Participant Inc., and La MaMaGalleria. And solo shows at Regina Rex, Brooklyn; and Night Gallery, Los Angeles. Their video work has been screened at the MIX NYC film festival, Vox Populi, NoMinino, Ecuador; and The Israeli Center for Digital Art, Holon.

SKOTE (Jill Pangallo & Alex P. White)

Working across multiple mediums, materials, and photography, Brooklyn-based artist Tahir Karmali’s interests lie in manipulating materials that perpetuate colonialism. He draws from his own experiences as a well-traveled Kenyan citizen to structure narratives around migratory identity. Karmali received his Masters of Digital Photography from the School of Visual Arts, New York. Selected exhibitions include “Jua Kali,” a part of “Making Africa,” High Museum of Art, Atlanta (2017), Kunsthal Rotterdam, Netherlands (2016), and Guggenheim, Bilbao, Spain (2015), among other venues; “My Collection,” MoCADA, Brooklyn (2017); and “PAPER:Work,” Art Africa Fair, Cape Town, and Pioneer Works, Brooklyn, both 2017.

Tahir Carl Karmali

Pioneer Works regulars perform a DJ set with funk, soul, and reggae sounds.

Chances with Wolves Garden DJ Set

Take a look at our music residents recording in studio. Musicians featured include Senyawa, James Tillman, Susana Baca &#038; Reeps One.

Pioneer Sessions Screening

Eaten by Ghosts brings together ideas of live improvised music and sound installation in a work written specifically for Pioneer Works by the Earth Tongues ensemble&#8211;Carlo Costa (percussion), Joe Moffett (trumpet), and Dan Peck (tuba).

Eaten by Ghosts: Earth Tongues

Tick is a video installation that marks the end of SKOTE&#8217;s 6-month residency.

SKOTE presents Tick

Taught by DiscWoman DJ and producer stud1nt, Sound Lab is a six-week class designed to teach Red Hook teenagers how to produce and DJ music. Join us to hear the participant&#8217;s signature DJ sets.

Sound Lab DJ Set with Discwoman's stud1nt

Chances with Wolves Late  DJ Set

Georgia Institute of Technology Professors, Dr. Pablo Laguna and Dierdre Shoemaker lead a discussion on the nature of black holes in the Science Studios.

A Conversation on Black Holes

Using a virtual pen, operate a robotic arm that uses a pen and paper to make your digital drawings a reality.

Mechanical Drawing Workshop

Rumor Bingo is a social game that creates space to discuss our ideas about truth and fiction. As bingo cards are turned in and redeemed for prizes, the “dirt” from each card will be shared in real time using a variety of methods—posted flyers, a ticker, and a one-page newspaper.

Fact Craft: Rumor Bingo

Visual arts resident Evelyn Donnelly creates wearable works that are inspired by her studios. Bring home your own wearable paintings, repurposed sweaters, shapes earrings, worksuits, and other items.

Wearable Paintings Clothing Sale

In collaboration with Prospect Park Alliance&#8217;s The Connective Project, join us in the garden to create your own pinwheel. All ages welcome.

DIY Pinwheel Workshop

Technology resident, Rosalie Yu presents 3D sculpture Embrace in Progress and a virtuality piece, Small Scale Violence.

Embrace in Progress

Tell Congress how you really feel and leave a message for your representative.

Hope Floats Kiosk

An audiovisual series and archive of complex scientific ideas made small.

Condensed Matter

Join the Amateur Astronomers Association of NY in the garden for an interactive look into the sky.

Solar and Star Gazing

SKOTE

Discwoman

Desiree Des

Evelyn Donnelly

Rosalie Yu

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Using remnants bequeathed by The Metropolitan Museum of Art, Jean Shin’s 

 explores the fragility of institutional memory when faced with the transition from analog to digital imagery. As of only one or two generations ago, the art world predominately used 35mm slides to document artwork and exhibitions, filling countless carousels, projectors, and cabinets in a desire to archive and disseminate the history of art. Today’s ubiquitous and low cost digital imaging, however, has motivated major cultural institutions to digitize their slide libraries, consequently rendering vast collections obsolete. Shin has strung together thousands of individual slides into a large-scale installation intended to reconstruct the systems of categories, hierarchies, and chronologies that once contextualized these archives. The installation will also include slide projectors showing selected images from these archives.

 references meteorology, wherein the term ‘cloud’ suggests a visible mass of minute particles captured in the atmosphere. Similarly, the installation hovers over the gallery space, presenting thousands of finite units that paradoxically represent an ephemeral form. Analogous to the so-called online ‘cloud’ of digital storage, 

 insists upon the physical objecthood and order that were inherent to slide libraries. Shin invites viewers to contemplate the inner worlds within each frame, and to consider the loss of context and resolution brought forth by the reduction of materials to data bits.

In addition to the Met’s collection, Shin will be requesting donations from the artist’s own community to create a new archive of 35mm contemporary art slides at Pioneer Books (289 Van Brunt Street in Red Hook) and Cristin Tierney Gallery (540 W 28th Street in Chelsea). Shin’s personal collection of slides, dated from the 1990s through early 2000s, will also be included in the exhibition’s programming. By creating a new body of contemporary art slides, which notably contrasts with the Met’s institutional records, 

 maps and makes visible a community of professional artists that is more inclusive of gender, ethnicity, and generation.

 is a satellite exhibition of Materials for the Arts’ exhibition 

Institutional Memory: 35mm Slides from the Met’s Collection

 organized by Hallie Bahn and Omar Olivera of Materials for the Arts and Marco Castro Cosio formerly of the Met Media Lab. With additional support by the Pratt Institute Faculty Development Fund.

MetaCloud

Using remnants bequeathed by The Metropolitan Museum of Art, Jean Shin’s MetaCloud explores the fragility of institutional memory when faced with the transition from analog to digital imagery. As of only one or two generations ago, the art world predominately used 35mm slides to document artwork and exhibitions, filling countless carousels, projectors, and cabinets in a desire to archive and disseminate the history of art. Today’s ubiquitous and low cost digital imaging, however, has motivated major cultural institutions to digitize their slide libraries, consequently rendering vast collections obsolete. Shin has strung together thousands of individual slides into a large-scale installation intended to reconstruct the systems of categories, hierarchies, and chronologies that once contextualized these archives. The installation will also include slide projectors showing selected images from these archives. 
The title MetaCloud references meteorology, wherein the term ‘cloud’ suggests a visible mass of minute particles captured in the atmosphere. Similarly, the installation hovers over the gallery space, presenting thousands of finite units that paradoxically represent an ephemeral form. Analogous to the so-called online ‘cloud’ of digital storage, MetaCloud insists upon the physical objecthood and order that were inherent to slide libraries. Shin invites viewers to contemplate the inner worlds within each frame, and to consider the loss of context and resolution brought forth by the reduction of materials to data bits. 
In addition to the Met’s collection, Shin will be requesting donations from the artist’s own community to create a new archive of 35mm contemporary art slides at Pioneer Books (289 Van Brunt Street in Red Hook) and Cristin Tierney Gallery (540 W 28th Street in Chelsea). Shin’s personal collection of slides, dated from the 1990s through early 2000s, will also be included in the exhibition’s programming. By creating a new body of contemporary art slides, which notably contrasts with the Met’s institutional records, MetaCloud maps and makes visible a community of professional artists that is more inclusive of gender, ethnicity, and generation. 
MetaCloud is a satellite exhibition of Materials for the Arts&#8217; exhibition Institutional Memory: 35mm Slides from the Met&#8217;s Collection organized by Hallie Bahn and Omar Olivera of Materials for the Arts and Marco Castro Cosio formerly of the Met Media Lab. With additional support by the Pratt Institute Faculty Development Fund.

Jean Shin

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Pioneer Works is a platform for visual artists to exhibit and produce work in a wide variety of media and often within many disciplines at once. Through our residency, programs, exhibitions, classes, and publications, we support artists who are primarily young, marginal, or overlooked with a focus on experimentation and the production of new work.

slides

Eric Timothy Carlson worked out of a studio at 2 Apollo Street, in Greenpoint, Brooklyn, for three years. This studio inevitably worked its way into his process—subconsciously dictating objects and materials, while architecturally determining scale and constraint. Carlson thinks of his studio space as a sort of domestic apparatus that acts as a container and catalyst for his art-making.

 is an assemblage of the most symbolic nodes of his studio, in which he also slept, read, and ate. This installation contains his desk, marble slabs, and his bookshelves, as well as an accumulation of trinkets picked up along the way: a rusty sickle, an old bucket, and an opium pipe from Hong Kong. Framed, finished drawings are hung throughout, as is a mobile made from conduit found in the basement. A digital print of Zuccotti Park hangs in the corner. It is a screenshot of a live stream of the dismantling of Occupy Wall Street. He watched this happen just a few months after moving to New York in 2011.

2 Apollo

Eric Timothy Carlson worked out of a studio at 2 Apollo Street, in Greenpoint, Brooklyn, for three years. This studio inevitably worked its way into his process—subconsciously dictating objects and materials, while architecturally determining scale and constraint. Carlson thinks of his studio space as a sort of domestic apparatus that acts as a container and catalyst for his art-making.
On view in 2 Apollo is an assemblage of the most symbolic nodes of his studio, in which he also slept, read, and ate. This installation contains his desk, marble slabs, and his bookshelves, as well as an accumulation of trinkets picked up along the way: a rusty sickle, an old bucket, and an opium pipe from Hong Kong. Framed, finished drawings are hung throughout, as is a mobile made from conduit found in the basement. A digital print of Zuccotti Park hangs in the corner. It is a screenshot of a live stream of the dismantling of Occupy Wall Street. He watched this happen just a few months after moving to New York in 2011.

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Kenya (Robinson) is a community-taught artist from Gainesville, FL. A past resident of the Lower Manhattan Cultural Council’s WorkSpace Program, the Bemis Center for Contemporary Art and the Triangle Arts Foundation, she begins her residency at Pioneer Works in May 2017. A member of the 2014 class for the Skowhegan School for Painting and Sculpture, she currently hosts #ST4NKLOV3, a live stream radio show produced by Clocktower Productions. In addition, her sculptural work has been exhibited at the Museum of Contemporary African Diasporan Arts, the Brooklyn Academy of Music and the 60 Wall Street Gallery of Deutsche Bank. Her sculpture, Commemorative Headdress of Her Journey Beyond Heaven, was acquired by the Smithsonian National Museum of African American History and Culture for their permanent collection in 2014. She has presented performance work at Sid Gold’s Request Room; MoMA PS1; JACK; The Kitchen; Thomas Hunter Project Space; The Museum of Modern Art. And, in 2011, her durational project, The Inflatable Mattress, was featured in the Home Section of The New York Times. (Robinson) has been a contributor to The Huffington Post and Intercourse Magazine. Most recently, she was included in the October/November 2016 issue of Modern Painters with her essay, “The Fate of Excellence”, and was the inaugural resident for Recess Arts’ online residency ANALOG. An iteration of her Creative Capital funded project, CHEEKY LaSHAE: Karaoke Universal, will be included in the Out of Line Series for the High Line during the Summer of 2017.

Kenya (Robinson) is a community-taught artist from Gainesville, FL. An artist, international southerner, mischief maker and shit-starter, she was a resident of the Lower Manhattan Cultural Council’s WorkSpace Program (2009–10), the Bemis Center for Contemporary Art (2014) and the Triangle Arts Foundation in 2015. A member of the 2014 class for the Skowhegan School for Painting and Sculpture, she currently co-hosts #trashDAY, a livestream radio show produced by Clocktower Productions. In addition, her sculptural work has been exhibited at the Museum of Contemporary African Diasporan Arts, the Brooklyn Academy of Music and the 60 Wall Street Gallery of Deutsche Bank. Her sculpture, Commemorative Headdress of Her Journey Beyond Heaven, was acquired by the Smithsonian National Museum of African American History and Culture for their permanent collection in 2014. She has presented performance work at Sid Gold’s Request Room; MoMA PS1; JACK; The Kitchen; Thomas Hunter Project Space; The Museum of Modern Art. And, in 2011, her durational project, The Inflatable Mattress, was featured in the Home Section of The New York Times. (Robinson) has been a contributor to The Huffington Post and Intercourse Magazine. Most recently, she was included in the October/November 2016 issue of Modern Painters with her essay, “The Fate of Excellence”, and was the inaugural resident for Recess Arts’ online residency ANALOG. An iteration of her Creative Capital funded project, CHEEKY LaSHAE: Karaoke Universal, will be included in the Out of Line Series for the High Line during the Summer of 2017.

Kenya(Robinson)_Portrait

Founded by artists Jill Pangallo and Alex P White, SKOTE is a performance collaboration dedicated to the movement arts, and the politic of otherness. SKOTE are directors, choreographers, designers and performers. Their work is a hybrid of dance for camera and video installation with a distinct style rooted in the queer history of camp, mime, clowns and 70’s pedestrian movement practices. SKOTE believes speaking through an/other’s voice is the contemporary condition and that we are all media constructions – recorded, reordered, coded and decoded, duplicated ad nauseam – a type of decay they appreciate and study. Based in New York City, SKOTE has performed, shown and screened internationally in galleries, nightclubs, public spaces and theaters since 2006. SKOTE most recently performed at Socrates Sculpture Park, Judson Church with Movement Research, Bodega Gallery, Participant Inc., and La MaMaGalleria. And solo shows at Regina Rex, Brooklyn; and Night Gallery, Los Angeles. Their video work has been screened at the MIX NYC film festival, Vox Populi, NoMinino, Ecuador; and The Israeli Center for Digital Art, Holon.

Founded by artists Jill Pangallo and Alex P White, SKOTE is a performance collaboration dedicated to the movement arts, and the politic of otherness. SKOTE are directors, choreographers, designers and performers. Their work is a hybrid of dance for camera and video installation with a distinct style rooted in the queer history of camp, mime, clowns and 70’s pedestrian movement practices. SKOTE believes speaking through an/other&#8217;s voice is the contemporary condition and that we are all media constructions &#8211; recorded, reordered, coded and decoded, duplicated ad nauseam &#8211; a type of decay they appreciate and study. Based in New York City, SKOTE has performed, shown and screened internationally in galleries, nightclubs, public spaces and theaters since 2006. SKOTE most recently performed at Socrates Sculpture Park, Judson Church with Movement Research, Bodega Gallery, Participant Inc., and La MaMaGalleria. And solo shows at Regina Rex, Brooklyn; and Night Gallery, Los Angeles. Their video work has been screened at the MIX NYC film festival, Vox Populi, NoMinino, Ecuador; and The Israeli Center for Digital Art, Holon.

SKOTE (Jill Pangallo &#038; Alex P. White)

Working across multiple mediums, materials, and photography, Brooklyn-based artist Tahir Karmali’s interests lie in manipulating materials that perpetuate colonialism. He draws from his own experiences as a well-traveled Kenyan citizen to structure narratives around migratory identity. Karmali received his Masters of Digital Photography from the School of Visual Arts, New York. Selected exhibitions include “Jua Kali,” a part of “Making Africa,” High Museum of Art, Atlanta (2017), Kunsthal Rotterdam, Netherlands (2016), and Guggenheim, Bilbao, Spain (2015), among other venues; “My Collection,” MoCADA, Brooklyn (2017); and “PAPER:Work,” Art Africa Fair, Cape Town, and Pioneer Works, Brooklyn, both 2017.