Thursday, October 31, 2024
SPFC (buttprint) Exhibition at art gallery PKULTRA
“SPFC (buttprint)”, 2022, Falon Weaver and Aoife Ní Dhuinn,
concrete on brick wall, Dublin. On view Nov. 1 - TBD
Collaboration history:
Since 2021, visual artists Falon Weaver and Aoife Ní Dhuinn have shared a collaborative practice exploring their shared interest in existentialist thought, internet culture, and material exploration. Coming from respective backgrounds in painting and media, the duo use their collaboration as an opportunity to integrate these shared ideas through sculpture and installation. Their practice adopts a broad range of processes including concrete casting, ceramic sculpture, meme making and going for walks.
Work Description:
SPFC (buttprint) is part of a larger installation, “Shitposting From the Cryosphere” reflecting on fences/boarded sites around Dublin City and meme culture, exploring the parallels between their function as means of communication. The work appropriates materials and repeated signage found on the semi-permanent barriers surrounding vacant lots and construction sites, and encompasses the layers of irony used in the repetitive, low quality, and provocative posts
that define internet ‘shitposting’.
Currently:
Previously wheatpasted back onto the various Dublin sites that inspired it, SPFC (Buttprint) now finds its way onto the walls of Seattle’s own ‘gritty alley gallery’ feed at art gallery PKULTRA, the institution itself meshing into the conceptual organizing principles espoused by the SPFC artwork. With each iteration, this piece continues the memetic tradition, bridging time, distance, and borders to expand the landscape of modern folklore.
Monday, August 12, 2024
Alexia Siskahot, “Snap Dragons Oversaturated”, 2024, unknown media, 24x24 inches.
Alexia Siskahot (likely an alias) volunteered an exhibition of “Snap Dragons…” through the pursuit of catfishing spam (nudes) received through an email address associated with art gallery PKULTRA. The history of the gallery relates to the curatorial narrative. At some point, c. 2014, a hacker using the Cyrillic alphabet hijacked the blog of Form/Space Atelier, necessitating a rebrand, resulting in the new brand: art gallery PKULTRA. The exhibition of Alexia Siskahot is a defensive reflex, and the viewing cycle of the catfishers much-embellished imagery is of an indeterminate period of time.
Hacker new point of origin: SiskaHot
Hacked brand: Form Space Atelier
Friday, April 26, 2024
Convoluted Site-Specificity: Kor Kinetic
Title: Kor Kinetic
Vernissage: First Thursday May 2, 2024, 3-4pm
Location: 2407 1st Avenue 98121-1311
Viewing Cycle: May 2-26, 2024
Paul Kuniholm established himself as a public artist through formal training in ironworking at Vashon High School 1976-77, and earned a Postbaccalaureate Degree in Fiber Arts at the University of Washington School of Art 2012. Blending these contrapuntal media in Kor Kinetic, and a shocking number of other “woven” steel sculptures, Kuniholm is obsessed with his familial heritage and his inter-relation to Salish lands.
BC(1) is the most recent iteration of what was on founding known as Form/Space Atelier 2006-18 and art gallery PKULTRA 2018-present, occupying chiefly the stairwell down at 2407 1st Avenue 98121-1311. In keeping with solemn 30-year oaths to serve other artists as a curator, Paul Kuniholm now predominantly creates and exhibits his own art as a longtime principal at BC(1), owned by Nick Ferderer.
Tuesday, January 30, 2024
Everyday Echoes: Sound Art by Shawn Ross
Location: 2323 3rd Ave Alleyway Seattle 98121
Chronology: Friday April 12, 2024, 6-7pm rain or shine
Local artist Shawn Ross invites audiences to embark on a captivating sonic journey with his latest long-form sound performance, "Sonic Spectra of Time." The project delves into the profound questions of connection to place and the emotional resonance of geographic locations.
Ross, inspired by his personal exploration of disconnectedness, employs audio as the primary medium to investigate the concept of connection. "Sonic Spectra of Time" intentionally engages with the mundane, aiming to foster a distinctive connection to a location through the immersive experience of sound.
The performance consists of two interconnected pieces, each contributing to the overarching theme of time, place, and life. The first piece, titled "Field Voice Vignettes (2023-ongoing)," employs cassette tapes as a metaphor for the tangible and ephemeral qualities of time. Ross records site sounds at specific times chosen by an algorithm, capturing the essence of various locations without revealing their identities. The recorded scripts, describing each place, are then overlaid as voiceovers, creating an archive that evolves over thirteen year length of the project.
The second piece, "Everyday Echoes (2023-ongoing)," takes the form of a live performance where random sounds from Ross's life are mixed on-site at a specific time for the audience. Unlike the first piece, this project lacks an archival component, allowing the abstraction of
sound during the performance and empowering listeners to create their own internalized, site specific experiences.
"Sonic Spectra of Time" challenges conventional perceptions by isolating, disconnecting, and abstracting recorded audio without accompanying visuals. This intentional act compels listeners to engage mentally, creating visuals through memory recall or contrived imagery. The boundary between reality and non-reality blurs, giving rise to a hyperreality within each listener—an internal third place.
Ross's work elevates the seemingly mundane sounds of everyday life, presenting them as special elements that facilitate engagement and connection to place. As listeners navigate this sonic landscape, they not only learn to appreciate the "unheard" sounds of life but also play a crucial role in completing the site-specific component by crafting the final site within themselves.
"Sonic Spectra of Time" is a groundbreaking exploration of sound, time, and connection, inviting audiences to rethink their relationship with the world around them. The long-form performance promises to leave a lasting impression on those who experience its transformative journey. (didactic courtesy the artist).