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DTSTART;TZID=America/Indiana/Indianapolis:20190906T180000
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DTSTAMP:20260405T053607
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UID:8156-1567792800-1578754800@www.bigcar.org
SUMMARY:Saya Woolfalk: Empathic Cloud Divination
DESCRIPTION:In this new exhibition\, New-York-based multi-media artist Saya Woolfalk explores our understanding of the human condition — a state of affairs governed by seemingly unavoidable conflicts such as birth\, growth\, and death. This show explores how technology has allowed us to ease our suffering by making change less difficult and transformation more enjoyable. Perhaps the ultimate human technological advancement would be the elimination of mortality by extending human life indefinitely in a biological\, digital\, or other virtual state. Recent advances suggest our species may already be on the cusp of achieving this evolutionary landmark. \nWoolfalk’s exhibit at Tube Factory includes her signature installations\, sculptures\, prints\, video art works\, and the works of artists who influence her practice. It builds on one of her first projects\, No Place (a play on the translation of the word utopia)\, where she collaborated with filmmaker and anthropologist Rachel Lears. Both then in their mid 20s\, they invited people into Woolfalk’s studio to talk about their ideas of utopia and created work from there. \n“Similar to the way you would construct a folktale\, we took these ideas and we constructed the culture of the NoPlaceans. People would come to the studio\, put on costumes and enact the things that they were imagining\,” says Woolfalk who created a six-chapter ethnographic film about this future utopian world based on people’s visions. \nTo explore the conceptual boundaries of this cultural moment\, this also led Woolfalk to create a fictional transhuman species known as the Empathics\, which she describes as a race of women who are able to alter their genetic make-up and fuse with plants. “If you have a utopia\, then how do you actually make that utopia real? I worked with biologists at Tufts University to think about what in nature could occur in order for people to mutate to become more like plants.” \nWoolfalk’s Tube Factory installation will extend the story of the Empathics\, blending multi-media aesthetic phenomena\, spirituality\, cultural hybridization\, capitalism\, technoscience\, and artificial intelligence to conjure a broad network of interconnecting philosophical strands. Informed equally by science fiction and anthropology\, the morally ambiguous future that the exhibit shares is open to the interpretation of its viewers. “Going from modularity to monumentality is how I approach my practice. I work in ways that are incredibly small and I also work in ways that are incredibly big. The work functions like collage.” \nShould we fear the world Woolfalk and other transhumanist artists are mapping? Should we embrace it? Should we shrug it off as a Pollyannic fantasy\, doomed by the human idiot factor? Woolfalk seems to be implying a potentially disturbing fourth option: Some of us — particularly those with special status or outlandish means — have already started to transform. Is this art\, or a warning shot across the cultural bow of the human race? \n\nAbout the artist  \nWoolfalk (b 1979\, Japan) is a pioneer within an emergent\, international aesthetic movement examining transhumanism — a theoretical belief that humans will mobilize technology to transcend their biological limitations and evolve into a non-human\, or “posthuman” race. With each body of work\, Woolfalk continues to build the narrative of The Empathics and questions the utopian possibilities of cultural hybridity. She has exhibited at museums\, galleries\, and alternative spaces throughout Asia\, Europe and the United States including solo exhibitions at the Montclair Art Museum\, Montclair\, NJ (2012); the Chrysler Museum of Art\, Norfolk\, VA (2014); the Asian Art Museum of San Francisco (2014); SCAD Museum\, Savannah\, GA (2016); Everson Museum of Art\, Syracuse\, NY (2016); Sheldon Museum of Art\, Lincoln\, NE (2016); the Mead Museum of Art\, Amherst\, MA (2017) and group shows at the Studio Museum in Harlem; MoMA PS1\, Long Island City\, NY; the Warhol Museum\, Pittsburgh\, PA.\, the Museum of Contemporary Art\, Chicago\, among many others. \n“When I started making work it was very important that it was not autobiographical\,” says Woolfalk. “The work is not about me at all. The work is about talking to people about their ideas and trying to understand what’s going on in the world then taking that material and adapting it into installation based spaces that people can experience.” \nMade possible by The Andy Warhol Foundation for the Visual Arts and The Efroymson Family Fund. \nPart of the Social Alchemy Series\, this exhibition is in partnership with the New Harmony Gallery of Contemporary Art.  \nImage: Saya Woolfalk\, Encyclopedia of Cloud Divination\, Plate 2\, 30”x40”\, 2018.
URL:https://www.bigcar.org/event/saya-woolfalk-the-empathics/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
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DTSTART;TZID=America/Indiana/Indianapolis:20191004T180000
DTEND;TZID=America/Indiana/Indianapolis:20191019T180000
DTSTAMP:20260405T053607
CREATED:20190924T154238Z
LAST-MODIFIED:20190924T193214Z
UID:8414-1570212000-1571508000@www.bigcar.org
SUMMARY:Lori Miles:Baptized In Sugar
DESCRIPTION:*This will be my first show in Indianapolis in ten years. \n*The show is called “Baptized in Sugar\,” and is a visual memoir of growing up in a house with a unique kind of privilege: we were saturated in unconditional love\, allowed boundless exercise of our own free will\, and we were always allowed to make any autonomous choice we wanted. \n*That kind of love makes the rest of the world\, forever\, pale in comparison. \n*My parents let my sisters and I spend an entire summer trying to dig our own swimming pool in the back yard (it ended up being nearly 3 feet deep and about 10 feet across\, lined with trash bags\, and required a constant stream of water from the hose just to rest in a mud pit). We could cook whatever we wanted\, but we never used recipes\, we just messed up the kitchen inventing horrible concoctions and baking them. I still do not know the actual rules to board games\, because in our house\, we could mix pieces between games\, make up our own rules\, and the winner was determined by democratic vote. \n*The show includes several sculptures (like a 14-foot tootsie pop called “Death Wish Summer”\, 2019)\, photographs\, videos\, paintings\, and one ceramic pig with a pink fur jacket (“You’re No Esau”\, 2019). \n*The experiences described are not quite factual\, but pulled from a combination of memories and impressions (some of my own and some I’m sure I borrowed- with three sisters\, you never really know. Some memories even turned out to be dreams (there was no clown painting on my bedroom wall as an infant\, but I recreated it for this show anyway). \n*In general\, my work does not concern itself with truth. The truth is just waiting to be proven wrong\, The world of the fake- copies\, replicas\, plastic tchochkes- these things know themselves to be false. Fake things can never be proven true\, and in that way\, they are the most honest things I know. \n*For instance\, I prefer plastic animals to real ones. In fact\, I have a famous distaste for real animals. They reek of the real world. A statue of an animal is neutral\, lovable\, permanent. I can project whatever I want onto it and it can handle the burden. \n*I don’t care about craft: it have no interest in impressing an audience with how good I am at something. The real challenge\, to me\, is to make my viewer care about something I didn’t make\, something that knowingly exhibits only a level of craft that could be achieved from a short youtube video. To that purpose\, much of the work that looks prefabricated is actually made and vis-versa. If they think “this is just a piece of paper stuck on a board\, they’ll actually come to realize it’s not paper at all\, but a painstaking layering of spray paint and gel markers on a board. \nAbout Lori Miles\nMiles is an associate professor of art and art history at DePauw University. Her work focuses on art making\, mostly dealing with cultural memes – especially looking at the gap between sculpture and contemporary controversies. She works at the intersection of traditional sculpture and use of online images for which copyright has expired. Online images inspire her sculpture and art. During summer 2015\, she was recipient of a faculty-student research grant through which she worked with students to merge traditional art with online images and other online research. \nThis exhibition is made possible by the Andy Warhol Foundation for the Visual Arts and The Efroymson Family Fund. \nImage: Lori Miles\, “Pieta (Why Deny the Obvious Child)”\nDigital Print on panel\n2019\n30″x20″
URL:https://www.bigcar.org/event/lori-milesbaptized-in-sugar/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2019/09/Pieta_smaller.jpg
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