MILDEART

Social Sculpture 

Workshop by Kristyna and Marek Milde

As part of the exhibition “The Life Instinct”by Anne Percoco at the  NURTUREart

Sat. May 12th, 3-5PM

NURTUREArt Gallery, 56 Bogart Street, Brooklyn NY

We would like to invite you to a workshop called Social Sculpture, we give at the Nurture Art  on Saturday May 12th from 3-5 pm.

The workshop  explores the consumerist cycle of disposal by reusing and redefining function of  common household objects.

We will build furniture with reclaimed materials, chairs and furniture, which should later serve public as a sitting area outside of the Nurture art.

The space is limited to 10 people, so please RSVP now to get a place gallery@nurtureart.org

Please bring, if possible, some of the following items with you:

– found furniture pieces (such as chairs, pieces of chairs, tables, or anything which can be used for sitting)
- tools (such as a drill, saw, hammer, wood screws etc.)

This is to ensure that there will be enough materials to go around and that the workshop will not be slowed down if many people need to use the same tools at a time. NURTUREart has a limited tool selection, but will gladly share the resources available.

Join us, it will be fun!  

 

 

 

 

Amplify Action: Sustainability Through the Arts

Opening Reception
Saturday, April 21st, 4-6pm

Bedford Stuyvesant Restoration Corporation’s Skylight Gallery
1368 Fulton Street, 3rd Floor, Brooklyn, New York, A/C to Nostrand Avenue

 In-tree-net, 2012,  detail form the installation at the Skylight gallery, trees, plumbing hardware, 24×10 feet

Amplify Action: Sustainability Through the Arts

Panel Discussion

Thursday, March 29th, 2012

Myrtle Hall, Pratt Institute, Room 2E.3

              

 

As a prelude to Amplify Action, a panel discussion will be held as part of Pratt Institute’s Green Week to engage the audience in a dialogue on the power of art to influence community sustainability. The panel will feature Mary Mattingly, Kristyna Milde and Simonetta Moro, three of the participating artists in Amplify Action, discussing their work as an ongoing project of lifestyle change and as a campaign to shift perception toward sustainable practices.

 

 

 

Moderator:

Ann Holder, Associate Professor, History, Social Science & Cultural Studies, Pratt Institute

 

Panelists:

Mary Mattingly, Artist – www.marymattingly.com

Kristyna Milde, Artist – www.mildart.com

Simonetta Moro – www.simonettamoro.com

 

 

 

 

 

 

photo by Natalia Porter, 2012

 

Amplify Action biographies & Artist Statements

 

Moderator:

Ann Holder, BA-Hampshire College, PhD Boston College, fields of specialization US Social/Cultural History, US Women’s History, African-American History, Gender/Sexuality Studies, Urban History, Cultural Studies, European Intellectual History; Current projects: Citizenship in the Post-Bellum South; Fellow: WEB DuBois Center at Harvard University. Former coordinator of the Critical and Visual Studies Program at Pratt. Courses taught at Pratt: World History, The Sixties, Families and Others, Representing the Real, The Story of Freedom in the United States, CritViz Colloquium and American Studies/Visual Studies

 

 Artists:

Mary Mattingly was born in Rockville, CT. USA in 1978. She lives and works in New York City. Mattingly studied at Pacific Northwest College of Art, Parsons School of Design, and Yale School of Art from 1996-2002.

Recent solo exhibitions include:
Frontier, Galerie Adler, Germany 2007; Fore Cast, White Box, NY2006; Second Nature, Robert Mann Gallery, NY 2006; We Go Round and Round in the Night, Feldman Gallery, Portland, OR 2005.

Recent group exhibitions include:
Future Tense, Neuberger Museum of Art, Purchase, NY 2008; Video Visionen, O eins, Edith Russ Site for Media Art, Oldenburg, Germany 2008; Bivouac, Art Omi, Ghent, NY 2007; Other Worlds: Fact and Fiction, Mattatuck Museum, Waterbury, CT 2007; and the International Center of Photography’s Triennial, Ecotopia 2006.

Recent publications/articles include:
Le Monde Magazine, Village Voice, ARTnews, Aperture, A Public Space, Artforum, C Photo, New York Magazine, New York Press, Time Out New York, Photography Quarterly Magazine.

She has co-curated interventions called Waterways alongside the Venice Biennial and with the Istanbul Biennial. Currently, Mattingly is working on a project called the Waterpod, a floating sculptural living structure that will showcase new ideas, simple and effective technologies for water desalinization and purification, clean energies, and sustainable, autonomous living. It can be easily prototyped and remade in different environments, and with different available resources. It will launch in May 2009, showcasing the work of artists, scientists, humanitarians, and geologists as part of the Hudson River’s Quadricentennial Celebration.

Currently, Mattingly is an artist in residence at the Lower Manhattan Cultural Council and an artist in residence at New York University. She just completed teaching a Master Class at the International Center of Photography.

 

Flock House, 2011, Photograph, 16 x 20

Exhibition Piece: Flock House is a migratory, public space that will be choreographed throughout New York City’s five boroughs to predetermined locations including: city parks, public spaces, and unused city-owned lots. Constructed of materials including recycled and reprocessed vehicles including airplane interiors, car bodies, bicycles, and boat hulls, the shape and form of “Flock House” is inspired by data patterns of current global human migration, immigration, and pilgrimage.  Flock House promotes a city in which structures combine, separate, and recombine, reflecting the daily movements and relationships of modern metropolitan life. By augmenting and affirming local community resources through workshops, organized events, and online information, “Flock House” embellishes the etiology of civic folkways, offering new opportunities for collaboration, celebration, and invention.

 

 Artist Statement: My work proposes a peripatetic world where populations depend on both migration and integrated communities. I focus on creating autonomous living/ traveling systems and the tools that accompany them, from wearable environments called Wearable Homes to water-based habitats that explore the intersection between autonomy and interdependence. In 2009, I completed a project called the Waterpod: a mobile, sculptural, autonomous habitat and collaborative public space atop a barge made to explore solutions for sea-level rise, lack of housing, and decrease of useable land.  Docking throughout New York City, artists lived onboard and tested the social, ecological, and technological ecosystems for the project’s duration. Formally contingent on mapping worldwide human migration patterns, my current projects are itinerant, small-scale architectural interventions called Flock Houses.  These capsules morph into preexisting underused urban structures, reflecting city dwellers’ movements while attempting to alter the autocratic effects of economic development.

 

 

Kristyna Milde, born in Prague, Czech Republic currently lives in Brooklyn, New York. Her work deconstructs cultural meaning to question traditional boundaries between archetypes and stereotypes. She employs a variety of media including photography, sculpture, and installation. She received Master of Fine Arts (MFA) from the Queens College, New York in 2007. Milde also studied painting from 1999 to 2003 at the Assenza Malschule, Basel, Switzerland. Kristyna Milde works for over a decade on a variety of interdisciplinary projects, on which she often collaborates with her husband Marek Milde. Her work has been exhibited in galleries and art centers in Europe and USA among others in the NURTURE art, Brooklyn, USA; Anna Wallace Gallery, New York, USA; Space Gallery, Pittsburg, USA; Futura, Prague, Czech Republic. Her work was featured in the New York Times, Brooklyn Rail, W+G News, Queens Tribune, Pittsburgh Tribune, BQE Media. She works as a Program Manager at the Czech Center NYC, a cultural institute of the Czech Republic.

 

In-Tree-Net, 2011, Site-specific installation made out of tree brunches mounted on the wall with plumbing hardware

 

Exhibition Piece (Kristyna & Marek Milde): The project In-Tree-Net engages the dilemma between systems of Nature and artificial structures. It investigates the influence of architecture on the understanding of Nature. The installation is site specifically made for the gallery settings out of tree trunks and brunches mounted on the walls with plumbing and electric hardware to resemble engineering systems of pipes and wires. Trees and their complex interconnection present in the ecosystem of the woods are here reduced to a rigid model of a machine representing the mechanistic approach towards Nature. Pipes which architecture usually attempts to cover in order to create an intact environment are here revealed to bring the outside inside pointing to the environmental dependency of the seemingly independent interior environment.  It follows the phenomena of a new kind of “Homo Interius”, a contemporary human, who spends most of its life inside of a white cube separated from the influence of the surrounding environment. In-Tree-Net critically approaches a culturally contingent understanding of the nature of Nature, which produces the perspective, that nature as such has borders, a beginning and its end, similar to architecture and urbanism. Nature here is an element that penetrates not only the walls, but also crosses artificial borders, that divide landscape without a context, cutting through the mountains and rivers. In the In-Tree-Net the organic systems represent an idea of bringing closer the nature and the way of its estranged perception, implying a reconnection of the fragmented environment to a whole. It is part of our larger body of work concerning themes of environment and mechanisms of culture creation.

Artist Statement (Kristyna & Marek Milde):  Our work engages themes of environmental alienation and mechanisms of culture. We use daily surroundings and everyday places such as the home or a public space to explore themes of identity and personal integrity in the environment. For our installations we use a combination of natural and artificially constructed elements placed in situations where cultural forms are being confronted. We are interested to uncover the principles of how culture determinates itself and to question the removed and alienated cultural views.

 

 

Simonetta Moro, My work exists in the space of memory, in the interstices between the real and the imaginary, the present and the past, the detail and the overview. Places and architecture influence my practice; history informs the content. My drawings and paintings emerge through a cumulative, layered process that takes advantage of the translucency and texture of the materials, such as mylar or rice paper. These materials contribute to creating an allusive, dream-like quality, and give depth to the resulting image. Contrasting images are seen all at once, implying the simultaneity of perception and the suspension of time.
Photographic processes also play an important role in composing the initial image on canvas or paper. Used more or less literally, reproductions are re-contextualized and transformed to respond to the particular situation I construct.
Representation and abstraction coexist in my work – often situated at their edges. I see the map-form as a synthesis of these two modes, a metaphor that allows me to expand on the politics and poetics of places, and to evoke the idea of journey. A personal history of wandering made me investigate issues of placement and displacement. As tools for traveling, maps can either transport us into other worlds, or make us aware of the unseen details of our current world.

 

Signs of Growth/Mobile Gardens map, 2009, ink on paper, 11×17″

 

Exhibition Piece: Signs of Growth/Mobile Gardens map – Collaborative project by Simonetta Moro, Eve Mosher, Tattfoo Tan and students of Eugene Lang College, The New School for Liberal Arts

Artist Statement: Signs of Growth: Urban Food, is a site-specific installation/ performance that took place in October 16 -18, 2009, in the context of Art in Odd Places festival, organized by Simonetta Moro, Eve Mosher and Tatfoo Tan with students at Eugene Lang College, The New School for Liberal Arts.The work entailed identifying and marking “green sites”—or places that potentially might support locally grown food—with signs along 14th street, from Union Square to 10th Avenue. The sites are diverse, idiosyncratic, even fantastical, including everything from scaffolding to rooftops, intending to encourage passers-by to think about urban agriculture and under-utilized public spaces.

The street action employed Tatfoo Tan’s Mobile Gardens – carts and found objects that students, working in collaboration with the artist, equipped with greenery and paraded along 14th street, while distributing maps of the Signs of Growth sites and brochures about urban window box planting. An example of text in the map reads: “Did you know?… At least 6000 tons of food must be imported into NYC daily. Unemployment would decrease with local food movements/production. Produce coming into NYC often has to travel over 1500 miles. Urban farming uses 1% of water needed for traditional field farming and absolutely no pesticides. Rooftop gardens can insulate buildings.”

In the exhibition that followed the performance, installed in the Skybridge Art Space at Eugene Lang College, a documentation of the public project was displayed along with maps, mobile gardens, a cookbook created by students, a greenhouse project, and an audio Soundscape.

 

 

This Month in Art October 2011

Kristyna and Marek Milde,”In Loving Memory” by Trent Morse

WG Williamsburg Greenpoint News + Arts, October Issues 2011, pg 6.

Perhaps the cheapest piece of furniture that one can buy is the plastic garden chair. It is ubiquitous on porches and in yards throughout the world, especially among folks with little disposable income. And, at a few dollars a pop, the chairs themselves are pretty much disposable. Artistic duo Kristyna and Marek milde found one of these chairs on a Chelsea sidewalk and decided to put it in an installation.

“In Loving Memory” solved a practical problem for NURTUREart. The gallery had a huge roof deck but nowhere for people to sit, so the Mildes hit the streets on New York and brought back a clashing collection of ten discarded chairs, which they cleaned and restored to working order. The chairs alone are a ramshackle and hideous bunch, but plaque – much like the plates affixed to park benches in dedication to deceased loved ones – that elevates them to objects of conceptual intrigue. There’s a ratty green lawn chair inscribed as “In Loving Commemoration of the Obsolete” a rounded red chair honoring the “Awkward”, a lifeguard chair memorializing the “Washed – Out”, and , of course, a white plastic garden chair for the “Uncool”.

This project was meant to demonstrate how, with a little elbow grease, a piece of garbage can be resurrected as a perfectly usable throne. But it also shows that, by labeling an object as uncool, it suddenly becomes cool. Such is the power of irony.

Click here to view the original article

To learn more about the project In Loving Memory click here

 

 

 

“KRISTYNA AND MAREK MILDE  In Loving Memory”

 Brooklyn Rail Article, September 2011, by Gail Victoria Braddock Quagliata

Project In Loving Memory in NURTUREart Gallery

EXTENDED till October 31st, 2011

Directions: 910 Grand Street, Brooklyn NY, take the L train to the Grand Street

MAP

 

 

Project IN-TREE-NET  in Gallery Califia

EXTENDED till September 12, 2011

as part of the Tik-Tak exhibiton

Directions: Horazdovice, Czech Republic

 

 

 

Green

July 4th, 2011 - August 1st, 2011 

Gallery Califia

Opening Reception, Monday, July 4th, from 8 PM

Directions: Chateau  Horazdovice, 341 01 Horazdovice, Czech Republic

MAP

 

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Learn more about our project IN-TREE-NET, which is part of the GREEN exhibition

 

 

 

In Loving Memory

June 21st, 2011 – September 08th, EXTENDED till October 31st, 2011

NURTUREart Gallery

Opening Reception and Roof Top Party, Tuesday, June 21st, 7-10 PM

Directions: 910 Grand Street, Brooklyn NY, take the L train to the Grand Street

MAP

 

In Loving Memory is an installation made of discarded outdoor chairs found in the garbage on the streets of New York.While the chairs serve their purpose as patio furniture on the roof of the NURTUREart, the installation addresses the issue of fast-paced cycles of the consumerism and the impermanence and the interchangeability of things, where actual ownership often represents a short-lived affair before rejection.Each chair has a plaque attached to its back. As memorial benches and chairs with inscriptions are erected to celebrate the honorable dead or living with a notion of monumentality, these plaques commemorate worn out, obsolete, and generally uncool characters recalling un-monumental aspects of everyday life. Whilst these may represent the reasons for the negation, together they create an inclusive monument questioning the mechanisms of the culture of disposal.

 

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