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CLIMATE ON THE EDGE PART I:

OUR PLANET IN CRISIS.

This three-part exhibition will present selected works by artists from around the globe who have been making artworks related to issues on climate change and its adverse effects on the planet; unintended consequences of CO2 emissions, use of plastics, pollution of the ocean and deforestation and its effects on human-centric phenomena such as migration and immigration, among others.

Glenda León, Mirage II, 2019

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ONLINE EXHIBITION

Atractor Studio, Juan Cortes

The Migrants is a project based on a real bird-migration history from 2014. The Golden Warbler birds faced adverse conditions due to global warming that generated storms on the coasts of Florida, which was their main destination. This caused the birds to alter their migratory routes, being forced to explore an alternative way through Mexico and Central America until arriving in Colombia.

Rethinking the relationships between technology, animal worlds and culture through art generates the possibility of imagining new scenarios and alternative atmospheres where biodiversity as a production of difference from nature recovers its power in a gesture of resistance to our current global scenario.

for the migrants who cross the ocean (NFT)

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NFT

Janaina Tschäpe (b. 1973 in Munich, Germany; lives and works in New York, NY)

In her practice, Tschäpe often incorporates themes of aquatic, plant and human life to suggest dreamlike, abstract landscapes that blur perceptions of illusion and reality. Referencing interests in myth, morphology and the mysteries of aquatic states, she has developed a distinctive language of abstraction in which organic forms are imbued with a remarkable quality of luminosity.

Scream is one in a series of artworks (prints, photographs, videos) by Janaina Tschäpe that engage with the image of a mermaid. In these works Tschäpe observes this extraordinary and mysterious creature, inspired by memories, myths and dreams, and investigates her anatomy, her femininity and her dual position of being both a subject and an object. In the current work, Tschäpe‘s mermaid is silently screaming underwater in a frame that moves onwards and backwards.

Scream, 2004

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FEATURED ARTIST

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Martine Guttierrez

CHINA DOLL VR Exhibition Walkthrough

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CHINA DOLL is the experience of wanting to be “the image” so badly that you sacrifice what you truly need. Consume until you are—touching the flame—becoming the mold to break her. It wasn’t until manifesting into the bombshell that I could see my aspirations for what they truly are. The child inside has to say “I am not more beautiful as Britney Spears.” What does it take to recognize our stars are voids inherently as blank as mannequins? This famous aspiration of perfection—whether a personal or public impulse—is a piling of references. The application of those references curated into media—projecting the perpetuation of our colonial hierarchies. Blonde is the cheapest privilege you can buy.

CHINA DOLL, 2020

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FEATURED ARTWORK

PHILIP MARTIN GALLERY

Philip Martin Gallery presents innovative, experimental and ambitious artworks in all media at its gallery location in Los Angeles.

Artist Spotlight: Brian Bress

Brian Bress is a video artist who creates absurd, circularly narrative films driven by the circumstances of a bizarre cast of ridiculously costumed characters, more often than not played by Bress himself. Though they rely predominantly on homemade props and costumes, Bress's videos are visually innovative and their inherent silliness and rambling pace only serve to intensify the examination of assumptions about the nature of reality.

He is also known for his collage-like portraits that feature costumed actors wearing strange masks that obscure their faces. By disguising the identities of the sitters, Bress heightens the level of uncertainty in the work to humorous levels.

"Everything in my studio was more interesting than the paintings and so I started creating these tableaus that were large enough to get inside of and interact with... and I would arrange them as carefully as I would a painting”

--Brian Bress

Organizing The Physical Evidence (Gradients on Gradients), 2018

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