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DTSTART;TZID=America/Indiana/Indianapolis:20250905T180000
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DTSTAMP:20260519T095743
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UID:13718-1757095200-1762095600@www.bigcar.org
SUMMARY:Keren Cytter: Rose Garden
DESCRIPTION:Video Gallery  \nCytter’s short 2014 film explores the unsettling duality of American culture’s ideals regarding being protectors of life and harbingers of death. This title is a reference to both the 1964 Joanne Greenburg book I Never Promised You a Rose Garden\, which deals with mental illness and the 1971-84 Marine Corp recruitment campaign “We Don’t Promise You A Rose Garden.” These references are meant to clue the viewer in that the seemingly ordinary setting hides a distorted reality. As the tension builds\, multiple guns and disjointed conversations between characters escalate the sense that the calm is about to be shattered. A chaotic shooting spree unfolds against the backdrop of normal daily life. The chilling final scene serves as a grim conclusion addressing violence and its pervasive presence within American culture. \nRun time: 8 minutes and 55 seconds \nPlease note: This work contains adult themes and gun violence that some may find triggering. \nAbout the artist \nKeren Cytter (b. 1977) creates films\, performances\, drawings and photographs on topics of social alienation\, language representation\, and the function of individuals in predetermined cultural systems through experimental modes of storytelling and human perception. Mostly characterised by a non-linear\, cyclical logic Cytter’s films consist of multiple layers of images; conversation; monologue\, and narration systematically composed to undermine linguistic conventions and traditional interpretation schemata. Recalling amateur home movies and video diaries\, these montages of impressions\, memories\, and imaginings are poetic and self-referential in composition. The artist creates intensified scenes drawn from everyday life in which the overwhelmingly artificial nature of the situations portrayed is echoed by the very means of their production. \nCytter was awarded the Joseph Guggenheim Memorial Foundation Fellowship (2021)\, Absolut Art Award\, Stockholm (2009)\, Ars Viva Prize\, Kulturkreis der Deutschen Wirtschaft\, Berlin (2008) and the Bâloise Art Prize at Art Basel (2006). \nRecent solo exhibitions include Hot Lava Night\, Kunsthalle Bielefeld\, Bielefeld\, Germany (2023); Double Standard\, LLS Paleis\, Antwerp\, Belgium (2023). Cytter’s work was showcased in a major survey exhibition at the Ludwig Forum Aachen (2022)\, featuring: films\, soap operas\, plays\, sculptures\, drawings\, novels\, zines\, life coaching guides\, children’s books and a festival. Cytter’s videos were shown in solo exhibitions at Winterthur Kunstmuseum\, Winterthur (2020); Centre for Contemporary Art\, Tel Aviv (2019); Museion Bolzano\, Bolzano (2019)\, Künstlerhaus – Halle für Kunst & Medien\, Graz (2016); Museum of Contemporary Art\, Chicago (2015)\, Kunsthal Charlottenborg\, Copenhagen (2014); State of Concept\, Athens (2014)\, Tate Modern\, London (2012)\, Stedelijk Museum Amsterdam (2011); München Kunstverein (2011); Kunsthaus Baselland\, Basel (2010); Moderna Museet\, Stockholm (2010); Hammer Museum\, Los Angeles (2010); X Initiative\, New York (2009); Le Plateau Paris\, Paris (2009)\, Witte de With\, Rotterdam (2008)\, MUMOK Vienna\, Vienna (2007); Frankfurter Kunstverein\, Frankfurt (2005); Kunsthalle Zurich\, Zurich (2005) and Kunst-Werke Berlin\, Berlin (2006). \nKeren Cytter’s work has been shown in numerous group exhibitions such as MOMENTUM 10\, Momentum Biennial\, Moss (2019); Masculinity\, Düsseldorf Kunstverein\, Düsseldorf (2019); SUR/FACE: Mirrors\, Museum Angewandtekunst\, Frankfurt\, (2017); Instructions for Happiness\, 21er Haus\, Vienna\, State (in) Concepts\, KADIST\, Paris (2017)\, Vision on Vision- Lemaitre video collection\, SEMA Museum\, Seoul (2017); Busan Biennial\, Busan (2016); Creating Realities – Encounters Between Art and Cinema\, Pinakothek der Moderne and Museum Brandhorst\, Munich (2015); Political Populism\, Kunsthalle Wien\, Vienna (2015); John Bock\, Keren Cytter\, Paul Pfeiffer\, Gillian Wearing and Akram Zaatari\, Regen Projects\, Los Angeles (2013); Expanded Cinema\, Moscow Museum of Modern Art\, Moscow (2011); Videonale 13\, Kunstmuseum Bonn\, Bonn (2011);  Found in Translation\, Solomon R. Guggenheim Museum\, New York (2011); Morality\, Witte de With\, Rotterdam\, Revolution\, van Abbe Museum\, Eindhoven (2010); Scenväxlingar / Scene Shifts\, Bonniers Konsthall\, Stockholm (2010); 8th Gwangju Biennale\, Gwangju\, Future Generation Art Prize: 20 Shortlisted Artists\, PinchukArtCentre Kiev (2010); Time Out of Joint: Recall and Evocation in Recent Art\, Whitney Museum\, New York (2009); The Generational: Younger Than Jesus\, New Museum\, New York (2009); Museum für Gegenwart\, Berlin (2009); Fare Mondi 53rd International Art Exhibition\, La Biennale di Venezia\, Venice\, (2009); VideoZone: Video Biennale\, Tel Aviv (2008); Shifting Identities\, Kunsthaus Zurich\, Zurich (2008); Yokohama Triennial\, Yokohama\, (2008); Torino Triennale\, Castello di Rivoli Museum of Contemporary Art\, Rivoli (2008); Television Delivers People\, The Whitney Museum of American Art\, New York (2008); The Second Moscow Biennial of Contemporary Art\, Moscow (2007); The first Hertzelia Biennial\, Hertzelia (2007); The 9th Lyon Biennial\, Lyon (2007); All Hawaii Entrees/Lunar Reggae\, Irish Museum of Modern Art\, Dublin (2006). \nHer films have been screened in numerous film festivals such as The Wrong Movie\, Berlinale\, Berlin\, Germany (2024); Villae film festival\, Villa d’Este\, Tivoli\, Bolzano Film Festival\, Bolzano (both in 2019); European Media Arts Festival\, Osnabruck (2018); A Retrospective at Bergamo Film Festival\, Bergamo (2016); Rotterdam Film Festival\, Rotterdam and KunstFilmBiennale Köln\, Cologne (both in 2009); Berlin International Film Festival\, Expended Forum\, Berlin (2008); Berlin International Film Festival\, Expended Forum\, Berlin and Glasgow Film Festival\, Glasgow (both in 2007). \nThis exhibition is made possible thanks to the support of the Andy Warhol Foundation for the Visual Arts.
URL:https://www.bigcar.org/event/keren-cytter-rose-garden/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,The Show Room,Visual Art
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DTSTART;TZID=America/Indiana/Indianapolis:20251003T180000
DTEND;TZID=America/Indiana/Indianapolis:20251119T180000
DTSTAMP:20260519T095743
CREATED:20250924T141454Z
LAST-MODIFIED:20251119T182634Z
UID:13839-1759514400-1763575200@www.bigcar.org
SUMMARY:Tarrey Banks: A Thousand Drawings
DESCRIPTION:Tarrey Banks: A Thousand Drawings \nGuichelaar Gallery | on the Tube Factory campus | 1135 Cruft St\, Indianapolis\, IN 46203 \nFriday\, Oct. 3 – Wednesday\, Nov. 19 | Opening Reception: Friday\, Oct. 3 @ 6 – 10 p.m. \nCurated by Sylvia Thomas \n\nTarrey Banks’ A Thousand Drawings gathers together a monumental series of works on paper — each one an individual mark of time\, memory\, and creative persistence. What began as a daily practice has grown into an expansive archive of drawings that capture shifting moods\, fleeting ideas\, and the evolving language of line and form. Installed collectively\, the drawings envelop viewers in a landscape of repetition and variation\, where each page is both self-contained and part of a larger whole. \n“This project is about showing up to the page again and again\,” says Banks. “It’s about discipline\, but also discovery — letting each drawing be a record of that moment. Over time\, the small gestures add up to something much bigger than me.” \nIn A Thousand Drawings\, audiences are invited to reflect on how ordinary acts accumulate into extraordinary impact. The exhibition underscores how creative practice\, like community itself\, grows stronger through repetition\, commitment\, and care. \n\nAbout the Artist \nTarrey Banks is an Indianapolis-based multidisciplinary artist whose work spans drawing\, painting\, and experimental approaches. His practice emphasizes persistence and process\, focusing on how small daily gestures of creation can grow into bodies of work that feel both intimate and expansive. Banks treats artmaking as a discipline of attention — a way to record time\, experiment with form\, and remain open to discovery. \nWorking across mediums\, he explores endurance\, variation\, and the transformative potential of repetition. His drawings and paintings often reflect a balance between control and improvisation\, discipline and play\, structure and freedom. For Banks\, art is not only a mode of expression but also a practice of resilience and care — one that continues to evolve as he adds to his ever-expanding archive of images and ideas. \nInstagram: @tbanks_art_company
URL:https://www.bigcar.org/event/tarrey-banks-a-thousand-drawings/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
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