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DTSTART;VALUE=DATE:20240405
DTEND;VALUE=DATE:20240625
DTSTAMP:20260610T191927
CREATED:20240328T161347Z
LAST-MODIFIED:20250212T163639Z
UID:11762-1712286000-1719197999@www.bigcar.org
SUMMARY:Keren Cytter: Ocean
DESCRIPTION:April 5-June 23 \nOcean resembles a soap opera\, but with the eerily calm\, disembodied voice-over of a guided meditation: “If you don’t want to drown\, be an ocean.” The video begins by instructing the viewer to adjust her posture in relation to the screen and finishes by likening the viewer’s smile at her reflection to “the embarrassment of a blind date”—a playful take on Brechtian Verfremdung. The story\, whose fractured plot is told from different voices and individual viewpoints\, takes place in a beach house. It involves a few characters\, some of whom are lovers; a lonely boy; a bit of sex; several dialogues; and passionate kissing next to a bonfire\, accompanied by the sticky romanticism of Leonard Cohen’s song Undertow. The voiceover\, at one point coupled with the same pulsating binaural beats as Constant State of Grace\, repeats instructions on what to do and how to feel until the circular logic of the video closes in on its last words: “Concentrate\, look at your reflection. You are relieved. Your mind is empty. Your thoughts are public. […] You recognize your reflection and smile with the embarrassment of a blind date. Relax. Your mind is now an ocean.” \nAbout the artist \nKeren Cytter studied at the Avni Institute for Art in Tel Aviv between 1997 and1999. She was based in Berlin between 2005 and 2012\, since then she has lived and worked in New York. The artist is well known for her video works\, theatrical pieces and drawings. In 2012\, she founded the D.I.E NOW (Dance International Europe Now) dance company. She has also written five novels and three children’s books. Her works has been displayed in\, amongst other places\, the Ludwig Forum for International Art\, Aachen (2022) the Kunstmuseum Winterthur (2020)\, Center for Contemporary Art\, Tel Aviv (2019)\, Museion Bolzano (2019)\, Museum of Contemporary Art Chicago (2015) and the Kunsthal Charlottenborg\, Copenhagen (2014) In 2021\, Cytter was awarded the Guggenheim Fellowship. \nThis exhibition is made possible thanks to the support of the Andy Warhol Foundation for the Visual Arts\, Efroymson Family Fund\, Allen Whitehill Clowes Charitable Foundation\, the Institute of Museum and Library Services\, the Arts Council of Indianapolis and City of Indianapolis
URL:https://www.bigcar.org/event/keren-cytter-ocean/
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/2024/03/Keren-Cytter-Ocean-2014-Available-for-Sale-Artsy.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240405
DTEND;VALUE=DATE:20240528
DTSTAMP:20260610T191927
CREATED:20240314T132549Z
LAST-MODIFIED:20250212T163728Z
UID:11725-1712286000-1716778799@www.bigcar.org
SUMMARY:Jessica Dunn: Particular Fragments
DESCRIPTION:Most of us live in a world of constant noise and overstimulation\, fragmenting our own perception and memory. Information (and misinformation) overload has forever changed the human experience thanks to constant access to the Internet. Instead of living in the moment\, we are constantly challenged by the temptation of filling the void with seconds-long dopamine boosts reinforced by our personal algorithms in our artificial digital worlds.\n\nThe past few years\, I have felt stuck in a technological loop with the hypnotic Pavlovian itch to check notifications while absorbing more and more data for better or worse. Now more than ever\, it is difficult for me to cut through the noise. I feel as though I am constantly pulled in a million directions all at once. As an artist who both loves and loathes technology\, I have been examining my connection to devices and the ways I filter reality through screens. The rapid influx of information I face daily seems to blur reality\, leaving me with a longing for a simpler past.\n\nWhile challenging my own tech-dependency\, I have been reconnecting to nostalgic devices and media from my childhood and incorporating them into my practice. The first time-based content I ever experienced and created as a child was all on film and tape – 35mm film photography\, VHS\, and cassettes. Lately\, I have been creating cassette tape loops\, filming and distorting VHS tapes\, and manipulating 35mm film to produce animations. Working with these tactile processes unlocked an explosion of memories\, from those more distant and abstract to others more recent and clear. For this exhibition\, I present this collection of memories as “Particular Fragments.”\n\n“Particular Fragments” invites viewers to explore themes of time\, memory\, and consciousness through multisensory installations incorporating video and sound. With projection mapped videos\, soundscapes\, and interactive art\, Dunn embeds personal moments inspiring the viewer to unlock and share memories of their own.\n\nAbout the Artist\nJessica Dunn (sesseka) is a multimedia artist known for her immersive\, dreamlike worlds combining video\, sound\, and physical installations. With a scientific curiosity\, she finds inspiration by investigating the natural world as well as psychological realms of consciousness. Dunn graduated from Herron School of Art + Design with a double major in painting and sculpture. Caught between 2D and 3D practices\, she found her calling in 4D art including experimental animation\, performance\, and experiential works. With a medium-agnostic mindset\, Dunn utilizes a wide variety of materials allowing the concept to drive the process. Lately\, Dunn has extended her practice into filmmaking including short documentaries and narrative animations. No matter the format\, Dunn’s work invites the viewer to open their perception to explore new realms of reality.\n\nThis exhibition was made possible by the Andy Warhol Foundation for the Visual Arts\, Herron School of Art and Design\, Arts Council of Indianapolis and the City of Indianapolis\, Allen Whitehill Clowes Charitable Foundation\, Efroymson Family Fund and the Institute of Museum and Library Sciences.
URL:https://www.bigcar.org/event/jessicadunnparticular/
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/2024/03/JessicaDunn-Postcard-6x9_Front-scaled.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240405
DTEND;VALUE=DATE:20240625
DTSTAMP:20260610T191927
CREATED:20240314T131801Z
LAST-MODIFIED:20250212T163721Z
UID:11723-1712286000-1719197999@www.bigcar.org
SUMMARY:Rachel Leah Cohn: Mem
DESCRIPTION:To walk through the installation\, Mem\, is to enter a myth. A kaleidoscope of the divine feminine\, there are fountains of light centering the space on the painting of Miriam– one of the seven major prophetesses of Israel. Miriam carried a rock from which flowed an abundant amount of water during the 40 years Jewish people searched for a place to live in the desert. Access to this water made survival of her people possible. Smaller paintings surround her\, as well as ritual objects such as papercuts and amulets.The title of Cohn’s show\, Mem\, is a Hebrew letter that has multiple significant meanings in the work. “I recently took a class about the complexity\, flexibility\, and magic within a single Hebrew letter. When searching for a title\, this one letter encapsulates many ideas I have considered while working in the studio. The shape can be seen as a wave and stands for the word for water\, mayim\,’ and Miriam and mikveh\, a ritual bath used for transformation\,” Cohn said. “Mem is related to feminine energy\, motherhood\, and the womb\, symbolizing protection\, safety\, and giving to others. \n“The letter also represents the number 40\, a mystical number that speaks to the cyclic nature of time\, moving from the past to the future. It is the time necessary for something to ripen and come to fruition\, which I relate to both the creative process and this moment for all of us\, which felt like an unmoored time of wandering and isolation\, but also rebuilding. For me\, it is an optimistic title\, a link between the world we see and the hidden alternatives. It is a hope for connection and transformation for the world\, seen through the lens of my experiences and the character of Miriam. \n”The exhibit is also a reflection of these experiences living life and traveling around the world to practice art as someone with Jewish heritage. Cohn has led an extraordinary life as an artist: traveling\, teaching\, living and learning in places like Qatar\, Denmark\, China\, and others.“The show is really about me thinking through my cultural heritage and my connection to Judaism\, which is something that has always been a part of my life\, but I think has been increasingly for-fronted by myself\, but also by others particularly while living in Qatar\, and some of the experiences that I had there that are both positive and negative\,” said Cohn\, now based in Indianapolis. “It felt impossible for me to talk about my own culture with my students. Even though expressing my heritage wasn’t always something that was super important to me\, I think the experience of working with them on representing their culture — and feeling like I needed to hide my own — made me think more about the valuing of sharing my experiences more directly.” \nCohn utilizes several different 2-D and 3-D artforms to create the exhibit\, although her background is originally in painting. The forms include — but are not limited to — sculpture\, painting and light manipulation. These artforms express a myriad of connecting themes and ideas within the exhibition.“I have been researching the traditional craft of papercutting and am pulling out the shapes and symbols that I’m interested in and then converting them into these laser-cut objects that I’m painting on top of\,” said Cohn\, who also works as the Foundations Coordinator and an Assistant Professor in Ball State University’s School of Art. “And then that’s within the idea of a fountain — which is ultimately the form of this project — that has to do with Miriam from the Torah and the well\, bringing water out of the desert to survive. \n”The water of this fountain is external\, but also internal. Cohn enjoys finding ways to use the materials she has at-hand to make works of art\, channeling inner resilience from her ancestors. And\, sometimes being resourceful means finding new peers to collaborate with\, wherever she is. Some of her notable works include Hot Pot Sauna Cart (2016) which was made for the Bi-City Biennale for Urbanism and Architecture in Shenzhen\, China; Lantern (Abu Nakhla Mirage) (2017)\, made in the desert in Qatar as an experimentation with light and location; and The Thunder\, Perfect Mind (2021)\, an exploration of light and themes in Judaism. Cohn said although she has an eclectic-to-the-eye portfolio\, all of her works have connections to her upcoming exhibit. \n“I think my practice — and adapting to what is there — has been a theme of my life\,” Cohn said. “When I look at my work over time\, I’m finding different ways to talk about the same things.”Tube Factory artspace Chief Curator Shauta Marsh met Cohn when she was a juror at Ball State in 2019. Marsh had traveled to Qatar with Tube Factory’s Mari Evans exhibit. And Cohn and Marsh talked about the otherness they’d each experienced in both the Middle East and the Midwest.“I don’t have a strong sense of identity. So often I work with artists who do\,” says Marsh. “Their work processes and relates stories tied to identity that are in jeopardy of being lost. My style as a curator is not an expert but an explorer. The exhibits at Tube Factory are an exploration with both the artist and the audience. I asked Cohn to use her work to explore her identity.” \nAs a multi-racial curator\, Marsh’s practice has centered around identity and exploration of the meaning of culture. And Cohn’s exhibition continues this path.“After thousands of years — humans are still so threatened by each other’s appearance\, by what each other speaks and believes\,” says Marsh. “But we know that people are more open to art than each other. My hope is that people will see the work and the story of it — and hopefully we can all work on feeling less othered\, less fearful of each other.” \nAbout the artist: \nRachel’s work is concerned with themes of communication\, mythology and rituals. Projects often attempt to give a physical form to something that is ephemeral\, through painting\, sculpture and installation.  Recently\, she lived in the desert where she was building lamps simulating mirages as an analog for memory and loss. Lately her research has been focused on Jewish mysticism and protective magic. Rachel exhibits her work nationally and internationally\, including ACRE Gallery (Chicago\, IL)\, Satellite Art Fair (Miami\, FL)\, Terrain Biennial (Springfield\, IL)\, Massey University (New Zealand)\, Qatar Museums (Qatar)\, the Istanbul Design Biennial (Türkiye) and Aterlierhaus Salzamt (Austria).  She has attended many artist residency programs\, including Vermont Studio Center (VT)\, Signal Culture (NY)\, Otis College of Art and Design (CA) and the Fire Station (Qatar). She holds a BFA in Painting from Rhode Island School of Design\, an MFA in Painting from Virginia Commonwealth University and is currently Foundations Coordinator and Assistant Professor of Art for the School of Art at Ball State University in Muncie\, IN. \n\nCurator- Shauta Marsh \nThis exhibition is made possible thanks to the support of the Andy Warhol Foundation for the Visual Arts\, Ball State University’s Aspire Program\, Efroymson Family Fund\, Allen Whitehill Clowes Charitable Foundation\, the Institute of Museum and Library Services\, the Arts Council of Indianapolis and City of Indianapolis\, and the Indiana Arts Commission. \nAbout Tube Factory: Tube Factory is a 12\,000 square foot museum space curated based upon the themes of community\, place\, memory and mythology. They commission local\, regional\, national and international contemporary visual and musical artists\, borrow artifact-based exhibits and create community-sourced exhibits. A previously vacant former manufacturing building\, it is now a thoughtfully renovated home base for non-profit art organization Big Car Collaborative’s work as well as partnership-based community meetings and cultural events. \nFor more about Cohn: Check out her website at rachelleahcohn.com and on Instagram @rachelleahc
URL:https://www.bigcar.org/event/rachel-leah-cohn-mem/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/03/rachelsmall-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240503
DTEND;VALUE=DATE:20240601
DTSTAMP:20260610T191927
CREATED:20240503T201349Z
LAST-MODIFIED:20240503T201349Z
UID:11882-1714705200-1717124399@www.bigcar.org
SUMMARY:Region Ninety: Uncensored
DESCRIPTION:Region Ninety \nGroup Exhibition: Twenty three artists participating from Ohio\, Indiana\, and Kentucky.
URL:https://www.bigcar.org/event/region-ninety-uncensored/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/05/IMG_1923.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240518T090000
DTEND;TZID=America/Indiana/Indianapolis:20240518T120000
DTSTAMP:20260610T191927
CREATED:20240424T195630Z
LAST-MODIFIED:20240425T200002Z
UID:11862-1716022800-1716033600@www.bigcar.org
SUMMARY:Community Sound lab 1: Listening and Recording
DESCRIPTION:Sound artists Rob Funkhouser and Landon Caldwell will start with a basic overview of intentional listening and field recording\, and then lead participants on a sound walk through Garfield Park where everyone will get a chance to record sounds that they find to be interesting. For the second half of the workshop\, there will be an opportunity for hands-on play with a modular synthesizer\, as well as lessons on how to handle files\, and prepare them to be used in your own personal projects.\n\nWe encourage people to come to either or both of these workshops. All ages and\, all skill levels are welcome\, this will be a  family-friendly activity.
URL:https://www.bigcar.org/event/community-sound-lab-1-listening-and-recording/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Garfield Park,Listen Hear,Visual Art
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