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coming up; Chris Isner Tamir Karta Katherine Kazlauskas

I realized some time ago that there is no point in caring about what I like or want or feel like doing, so I decided to stop caring. This translates into a lifestyle in which I go where people ask me to go, do what they ask me to do, and never discuss money. I have found that I experience happiness to the extent that I do this, happiness punctuated with periods of boredom as I wait for the next gig. Now I am working with Shmulik Krampf at refusalon because he literally got down on his knees and kissed my feet after not seeing me for fifteen years and I asked him, “What can I do for you, Shmulik?” After weathering an explosive spasm of maladjusted genius, Shmulik has managed to rein me in as a gallery artist/associate, a position I had sworn to never be in again.

We recently received word that the Steven Lieber collection is being dissolved and that my work in this collection from over twenty years ago is available, so we acquired it. I had completely forgotten about this work and it is an ironic word choice, ‘dissolved’, since dissolution was the process of its creation. I was engaged in the dissolution of self, a dismantling of that phase of life and a deconstruction of personal mythology in which I obliterated a detested, fledgling careerism by emptying file cabinets and turning CV’s, reviews, proposals, archives and art into art, cannibalizing the very career that I was rejecting. I never resorted to such careerist devices again and refused to collect or provide them. I still do. The only images I have of past work were gleaned online.

Also in this collection is work from my Stigmatic Constellation series in which I mapped scars, denoted them with wood match burns and connected the dots with burned lines. The statistical assumption that, no matter the configuration of points, there will be a corresponding configuration of stars in the night sky, projects the evidence of formative trauma into celestial celebration and permanence, at least for me it does. Kenneth Baker wrote about it in the SF Chronicle, “Isner’s work slyly impugns all representation as a symptom of our compulsion to seek ourselves in everything at the expense of what is merely there.” Ah, but we are merely here as is everything and there is no distinction because there really is no here here, so there isn’t anything here. I stare at the night sky and I do see myself just as I close my eyes and look and I see reality, not at the expense of what is merely here but through its negation.

Some reviews still stand out in my mind, particularly a 2002 Art Forum article which asked, “Where have you gone, Chris Isner (March ’93)? A nation turns its lonely eyes to you.” And then when I popped up in LA for a show, an SF ArtWeek article characterized me as “firmly entrenched under the banner of the Black Knight, providing an all-too-tangible viewport into the abyss.” Twenty years later, for good or Ill, I more fully embody this characterization because dissolution of self requires the exorcism of domestication and all things civilized and one finds oneself starving in the jungle, assimilated, dying yet never more fully alive. One gets covered in scars. You see it in the eyes.

There is only one question to ask: “What is it?” Don’t ask what it means or what it’s about; who am I to tell you that? But I will tell you what something is which includes what it does. To ascribe meaning by sticky note, as if meaning is some tacked-on externality solely at the artist’s discretion is laughable. Granted, context of histories is important but to what extent of inclusion? Inducing the necessary curiosity to explore contextual histories requires effort and intention but is the rarified niche of ivory-towered art history majors really enough or is that also laughable? And do we eschew common denomination so blatant as to be mere Social Realist propaganda? Interest is generated by being interesting, period. What is more boring than some career artist laboring away in a studio all day, going to openings at night, laughing, schmoozing, opportunistically ferreting information to “achieve” that big break….writing proposals, sitting on committees, jockeying for tenure, etc, etc, ad fuckin nauseum? This to the point where artists and arts professionals are indistinguishable! It’s pathetic. But there are always eyes out there viewing from a vantage point these Covered Wagons of Mediocrity encircling, viewing them with a pitiless intensity. It’s the wild. The wild is exciting. The wild captures the imagination, is always there, waiting, watching. It survives.

While I find the art proposal process quite amusing–a process whereby dilettantes generate ideas and then execute those ideas as if this is art rather than some species of conceptual illustration (then, of course, they’ll tell you what it means!)–I’ve known for decades that my greatest work will be merely an idea executed. Even so, it will be one of the greatest works of art ever made–the last great work of art ever made–because of what it is and what it does. This work will obliterate all existence, being not just a viewport into the abyss but the generation of the abyss itself. And I think it’s time to make this work, to extinguish the universe. I will extinguish the universe. This is a threat and a warning but don’t worry, you won’t feel a thing.

– CHRIS ISNER –

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underhaven

refusalon 25

                                                refusalon /25

Justin Hoover
Justin Hoover

   “The great artists of tomorrow will go underground”

                                                                                             – Marcel Duchamp, 1961

25 years ago, the first refusalon show, One Night Stand, began a long series of one-night-only exhibitions on Natoma Street.
This limited showing created an I-was-there, an exclusivity. A “in crowd” prestige that generated buzz.

Charles Linder Chris Isner Ella Tideman.
Justin Charles Hoover    Jack Leamy     Yoram Wollberger    Camilla West

check show at facebook

one night event

June 12th 5 PM till 8 PM
At our under ground space
ask for location [email protected]

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Justin Hoover

1000 YEARS LEFT TO GO…

…Stephen Hawking
spacial transportation and preview, for art fairs visitors
(my scooter) ( my private Tuk Tuk) (helmet at hand)

Yoram Wolberger,  Justin hoover, Jack Leamy,

Sabina Ott, Yin-Ju Chen, Jennifer Locke, and surprise revisit – Toland Grinnell

by appointment

[email protected]

Rejected works from last show, gets thumb’s up at refusalon underground  ungrounded undefeated art space. Be first to view !

 

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Sabina Ott

Provisional Haven

Provisional Haven

Guest Curator: Anna Novakov

Featuring works by Yin-Ju Chen, Felipe Dulzaides, Ana Teresa Fernandez, Ron Hutt, Jennifer Locke, Sabina Ott, Bijan Yashar and Michelle Wasson.
Due to content, show is in 2 locations; 500 post and LAIR, China Town.

The current San Francisco exhibition, Provisional Haven, contributes to the timely dialogue about technology and alternative art spaces. Provisional, references the current moment and temporary, fleeting sites. Haven suggests that art is a timeless sanctuary and refuge for both artists and viewers. The eight artists in the exhibition all engage with temporary, momentary spaces as well art as a haven for the unbound imagination. Anna Novakov’s curatorial point of view is the continually evolving role of technology and alternative spaces in contemporary art-making.

Sabina’s news congratulation ; News: 2015 Guggenheim Fellows Announced http://artforum.com/news/id=51509

 Yin-Ju Chen – END TRANSMISSION  https://vimeo.com/15338748

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Elizabeth Atjay

The Hunter And The Hunted …“It harrows me with fear and wonder…”

Camilla West, Justin Charles Hoover, Jack Leamy, Gilad Ophir, Elizabeth Atjay, and Alex Bargas

“It harrows me with fear and wonder…”

Camilla West resides in Hamlet’s homeland, enrapturing the observer with her renderings of Danish landscapes. Flowing brushstrokes, swiftness of hand, construction of layered, panoramic scenery and stark aesthetics of steel grey and violet are augmented by bursts of ephemeral yet quieting experiences…

“And every fair from fair sometime declines, / By chance, or nature’s changing course, untrimmed…”

Justin Charles Hoovers‘s large installation, “Shells and Bones,” fashioned out of discarded paper lanterns from San Francisco’s Chinatown, declares that material beauty will inevitably fade. A unique artistic expression is created from what might be viewed as refuse to others.

“So long as men can breathe or eyes can see / So long lives this, and this gives life to me.”

Jack Leamy’s series “The Hunter and Hunted,” comprised of a jarring series of meditators and soldiers on the front lines, transfuses the exhibit’s perspective by juxtaposing political figures in meditation with the hunters they employ.
Gilad Ophir, a photographer who recently showcased his work at the Tate Modern, has described the medium of photography as “the art of everything.” But as voices such Jerry Saltz’s are being censored and silenced by Facebook, we must be reminded of art’s ability to give us life when fear is present and minds are stifled.
Located on the first floor of the J.W. Marriott in Union Square, refusalon is a salon-style examination of issues both within and outside of the art world.

A simultaneous exhibit curated by Anna Novakov, Provisional Haven, will take place on the 21st floor and will emphasize the importance of a temporary space in which artists and viewers alike can safely express themselves by presenting new ideas. Participating artists are Felipe Dulzaides, Yin-Ju Chen, Ana Teresa Fernandez, Ron Hutt, Jennifer Locke, Sabina Ott, Bijan Yashar, and Michelle Wasson.

contact [email protected]

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SAHARA REPOSE · DE·LUX(e)

 

SAHARA REPOSE

 DE·LUX(e)

Opening Reception: Thursday, October 16th 5 30PM – 7 30PM

PRESS RELEASE

refusalon

 http://refusalon.com

500 Post St., San Francisco, CA    

Director: Shmulik Krampf

(415) 377-1407

Refusalon gallery is pleased to announce it’s upcoming solo exhibition of photographer Allan Gerson’s work. This exhibition focuses on photographs taken in the Sahara desert, and they are now, in the Royal Collection in Rabat. The photographs are abstracts in color and tone, and at times reminds  one of painting. Refusalon is displaying eighteen prints from the new Sahara series, four from the old Sahara collection and an additional four images from the rain series.

Gerson’s photographs are in the permanent collections of the International Photography Hall of Fame Museum, the University of Mississippi Art Museum and the Morocco Royal Palace in Rabat. Through his profession, Allan was constantly traveling, allowing him a view of the world –as  photographers often do.

DE-LUX(e) is a group exhibition of local and international artists whose work elucidates the concept of the inexplicable attraction between artist and viewer as mediated by the art object. Themes such as freedom of expression, art as media, the culture of silence and the scope of contemporary art on a worldwide and multicultural plane emerge as threads which bind these artists’ work together.

The exhibition’s name plays with the duality of meaning which is extracted from 

de·lux(e): lux (the latin word for light). Or, deluxe, the prior references the immense role of light in art, and how imperative lighting is to the artist. The latter refers to the constant lush nature of the various works, despite their differing mediums and styles.

Through this collection of artists, refusalon aims to embrace the interconnected nature of contemporary life, mechanisms of desire and global events. The ultimate goal is to authenticate the root forces that accumulate and coalesce leading to an artist’s unique creative vision.

Camilla West – scandinavian’s views. Shiri Mordechay – story board / large wall drawing. Jack Leamy – paintings. Pino Signoretto – Glass Food. Maya Smira – space photos. Mie Hørlyck Mogensen – stuffed vinyl pieces. Sandro Chia, Elisabeth Ajtay,and Ron Hutt.

refusalon

@

JW MARRIOTT SAN FRANCISCO UNION SQUARE

515 Mason Street

Please respond by October 14, 2014

http://refusalon.com

Director: Shmulik Krampf  (415) 377-1407

mail [email protected]

Spacial thanks to curatorial assistance Natalie De La Torre, and PR master Samara Diapoulos 

 

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Camilla West

SAHARA REPOSE · DE·LUX(e)

SAHARA REPOSE

October 16th  PM till Dec 24  –  extended!

Allan Gerson

Moroccan’s Sahara Desert, Photography . 

 

DE·LUX(e)

October 16th – till … extended!

 Sandro Chia                         Picking Little Heads

 Camilla West                                Scandinavian’s Scenery

Shiri Mordechay                   Vision Into The Raptures

Jack Leamy                           Meditation paintings

Pino Signoretto                     Food Glass

Maya Smira                          Space Photos        

Mie Hørlyck Mogensen        Stuffed Vinyl Work.

Elisabeth Ajtay                     East West South North

Ron Hutt                               Drawings As Offering

press release 

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