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

 







SHAWN ROSS
Everyday Echoes
April 12, 2024

Open to public 6pm – 7pm performance


art gallery PKULTRA presents Everyday Echoes, Shawn Ross’s first major exhibition in
the Seattle space, a one-hour live performance April 12, 2024 from 6pm to 7pm. 

Everyday Echoes is the first public presentation of a multi -year ongoing project.
art gallery PKULTRA presents the exhibition Everyday Echoes, Shawn Ross’s first major exhibition in
the Seattle space, a one-hour live performance April 12, 2024 from 6pm

A live performance of recorded sounds from Ross's life mixed with ambient live sound in real
time on site, Everyday Echoes draws from the artist’s library of over 2,000 minutes of recorded
sound on audio cassette. Amplified through an artist designed and intentionally placed multichannel 
sound system, visitors are invited to create their own internalized, site-specific experiences.
live performance of recorded sounds from Ross's life mixed with ambient live sound in real
time on site, Everyday Echoes draws from the artist’s library of over 2,000 minutes
recorded sound on audio cassette. Amplified through artist designed and intentionally placed
multichannel sound system, visitors are invited to create their own internalized, site-specific
experiences. This work elevates 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-specifisite-specific componentc component by crafting the final site within themselves.
This work elevates sounds of everyday life, presenting them as special elements that facilitate
engagement and connection place. As listeners navigate this sonic landscape, they not only
learn to appreciate the “unheard” sounds of life but also play crucial role in completing the
by crafting the final site within themselves. Informed from a profound experience of hearing loss during early adulthood, the artist presents the sounds of everyday life in vivid, heightened detail. Everyday Echoes is a groundbreaking exploration of sound, time, and connection, inviting audiences to rethink their relationship with Informed from profound experience of hearing loss during early adulthood, the artist presents the sounds of everyday life in vivid, heightened detail. Everyday Echoes is a groundbreaking
exploration of sound, time, and connection, inviting audiences to rethink their relationship with
the world around them.


Artist bio
Shawn Ross is a Seattle-based interdisciplinary artist whose work traverses the analog and
digital, working in sound, sculpture, self-built equipment, upcycled materials and the written
word, his projects often refer to the histories of Conceptual and Land art, with an emphasis on
precise minimalist design and abstraction. His work seeks to intertwine discourse around place,
memory, and nomadic site specificity, activating questions around our connection to it all.
Rooted in a tangible sense of material and the intangible medium of sound, and often
Shawn Ross is a Seattle-based interdisciplinary artist whose work traverses the analog and
digital, working in sound, sculpture, self-built equipment, upcycled materials and the written
word, his projects often refer to the histories of Conceptual and Land art, with
precise minimalist design and abstraction.  His work seeks emphasis on intertwine discourse around place,
. «y, und nomadic site specificity, activating questions around our connection
u tangible sense of material and the intangible medium of sound, and often
referencing the vocabulary of land art pioneers, Oulipo writers, and Hauntology, Shawn
rafarancinea the vocabulary of land art pioneers, Oulipo writers, and Hauntology, Shawn
explores how we make connections to a place that may or may not exist, and how those
connections affect our lives.

For further information, please visit the artists website shawnrossart.com

Exhibition title: “Sonic Spectra of Time”

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).