Abrons Art Center
October 25-November 24, 2013
Opening Reception: October 25 | 6-8 pm
Artists Sol LeWitt, Kristyna and Marek Milde, Occupy Oakland, William Powhida, Lisa Ruyter, Catherine Tafur, and B. Wurtz.
Organized by Kristian Nammack
ACTIVATE NY explores the relationship between art and activism, by facilitating a number of participatory events and by displaying relevant works of art in the gallery spaces.
The first floor small gallery will host an installation called New York Exchange Library by artists tandem Kristyna and Marek Milde. It takes a form of a free library, where visitors are encouraged taking and or bringing their own books to exchange exploring the concept of knowledge as a free resource versus a commodity.
ACTIVATE NY will hosts series of participatory events in the Abron’s Galleries including the launch of the100 hour Challenge, Artis Talk on Tuesdays at 7pm- pairing artists in the exhibit with activists relevant to the topic, Book Club on Wednesdays at 7pm led by art critic Andrew Russeth and open Discussion on Thursdays at 7pm facilitated by Kristian Nammack.
Kristyna and Marek Milde, New York Exchange Library, 2013
installation with books, garbage bins, table, chair, toys and various houshold objects, shopping cart, shopping bags, cardboard boxes, bookcases
Generously supported by the Rosenthal Library at the Queens College and the Abrons Art Center.
Where Is My Home?
October 11, 2013 – January 13, 2014
Opening October 10, 2013
Artists: Jiří David, Tomáš Císařovský, Tomáš Džadoň, Kristyna and Marek Milde, Karel Nepraš, Kristina Norman, Martin Mainer, Daniel Pešta, Jasanský a Polák, Kateřina Šedá, Oliver Kochta-Kalleinen and Tallervo Kalleinen, Jindřich Štreit Martin Zet, Krzysztof Wodiczko, among others.
The exhibition “Where Is My Home?” is dealing with the subject of home in its various meanings – home as a place, a town, a land, a region, a country. The project’s name, consisting of the first words of the Czech national anthem, contains a moment of doubt, personal as well as collective inquiry, which today is once again a topic due to the fact that today’s society is rife with uncertainty, dissatisfaction and feelings of frustration. If the idea of home is traditionally connected primarily with the feeling of certainty and security, it is logical that growing uncertainty and frustration from public life lead the public in no small affairs in creating a wider, shared home a city, province or region.
As part of this exhibition we show a project called “Home in a Home”, which is a site specific installation consisting of text on the wall and an office table with questionary. It is part of our an ongoing research project, where people are asked to list nonfunctional objects they have collected along with their stories, which create for them the personal layer of a home . The project, which works with the narratives of objects, started at our presentation and workshop Thoughts on the Living Room at the Museum of Modern Art in New York in November 2012 and continued as part of our solo exhibition Homescape in the Karlin Studios in December 2012. The visitors the exhibition Where Is My Home in DOX are encouraged to further contribute to the project with their ideas on the subject.
Kristyna and Marek Milde
Permanent installation at the Chateau Trebesice, Czech Republic, 2013
as part of the contemporary art collection curated by Alberto Di Stefano and Eugenio Percossi
The site-specific installation In-Tree-Net at the Trebesice Chattou is made out of trees and branches attached to the walls with hardware fixtures to resemble pipes and wires of engineering systems that bring vital functions into the building. The installation spans vertically three floors of the castle and continues horizontally across the top third floor leading to a room, where it branches out as a tree top.
Trees and their complex interconnection present in the ekosystém of the woods are here reduced to a rigid model of a machine representing the mechanistic approach towards Nature. Pipes that in industrial settings are usually exposed while the architecture in civil buildings usually attempts to meticulously cover in order to create an intact environment. In the In-Tree-Net the pipes become alive pointing at the environmental dependency of the seemingly independent interior environment.
In-Tree-Net critically approaches culturally conditioned understanding of nature, which produces the perspective that nature as such has borders, beginning and end, similar to the 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 nature closer and the way of its estranged perception, implying a reconnection of a fragmented environment to a whole.
Since 2003 Czech and international artists have been invited to stay at castle Třebešice near Kutná Hora, Czech republic, in individual or group residences, from a few weeks to some months, they are invited to create artworks and site specific installations.The art collect
ion at Třebešice is always growing and there are already approximately 80 artworks accessible to the public inside the castle and gardens. For guided tour please make reservation in advance.
a visual art exhibition examining life as commodity
The Center for Strategic Art And Agriculture
Opening July 4, 2013 from 3 to 8pm in conjunction with CSAA’s Fourth of July Garden Party,open until August 4th, 2013
11 Stanwix Street at Bushwick Avenue in Bushwick, Brooklyn, located in the North Garage of Silent Barn.
Plant Sale features work by Claire Wood, Cnaan Omar, Christina Kelly, Jason Gaspar, and Kristen Barry,
Kristyna and Marek Milde and more.
On July 4, 2013 from 3 to 8pm at the Center for Strategic Art and Agriculture is pleased to present Plant Sale, a group visual art exhibition that examines how we perceive plants in a contemporary context. It asks, who are we if the basis of our of food chain is an invisible commodity, patented sold on the stock market in the form of electronic data? It explores the commodification of life, its effect on our society and ourselves.
The opening of Plant Sale coincides with CSAA’s Fourth of July Garden Party with performances by award winning Americana guitarist Glenn Jones and D. Charles Speer and the Double Helix. ($10 at the door.)
Examines themes, concepts and cultural fictions
dealing with environment and ecology
321E 73RD STREET, BET. 1ST AND 2ND AVENUE
JUNE 26, 2013 – SEPTEMBER 2, 2013
OPENING: JUNE 25, 2013, 6:30PM – 8:30PM
Matej Al-Ali (CZ), Silvina Arismendi (Uruguay), Mark Dion (USA), Petr Dub (CZ), Mathias Kessler (USA), Tomas Moravec (CZ), Because we can (USA), Anne Percoco(USA), Katerina Seda (CZ), Klara Sumova (CZ), and Slavoj Zizek (Slovenia)
Dinner Garden: Vita Chase, Slavka Petrova, Marek Soltis, Filip Trcka, Nicole and Jan Zahour
Curated by Kristyna and Marek Milde
The exhibition project Poison Green interrogates and study the complexity of our environment. Rather than painting green and romanticizing nature, the artists and concepts, presented in the exhibition, examines the consequences of the urban, post-industrial, and virtualized reality we live in. It seeks to demystify the ideologies inherent in our understanding of nature, reflecting on conventions and stereotypes, and looking for possible environmental models socially integrated into our daily lives and culture.
The exhibition Poison Green is incorporated in a series of installations and visuals that extends from the gallery of the Bohemian National Hall to its rooftop, where a community garden project Diner Garden accompanying the show is installed. Here participants and visitors have the opportunity to experience the process of how to grow food just enough food for one dish.
Supported by the, Consulate General of the Czech Republic in New York, Bohemian Benevolent & Literary Association,
Tanya Bonakdar Gallery and the Vermont Compost Company.
one day exhibition project
as part of the
June 1st, 2013, 12am (noon) – 10pm
Keil Borrman, Mike Estabrook, Jamie Isenstein, Vandana Jain, Richard Jochum, Athena Kokoronis, Radka Kovacikova, Michael Merck, Kristyna and Marek Milde, Natalia Porter, Danielle Pottberg, Petra Valentova, Jan and Nicole Zahour
Curated by Kristyna and Marek Milde
An edible and participatory exhibition project examining the concepts and the culture of eating, cooking and food production as a realm in which identity and relationships to the environment are established.
If we are what we eat, who are we if we don’t know the origin and the context of the production of our food?
While today convenient and easy access to an abundance of food seems a matter of course, the source and the mechanism of its production remain largely out of sight. The glossy and uniform food packages seem to provide necessary information, however the product data put together with stories written about authenticity; endorsed by seals and marks, seem to divert one’s attention from the context and process of its creation, therefore making the modern food industry fit into genres such as mystery, ideology, sci-fi or political thriller.
“We Eat, We Are” presents a series of installations and events about or made with food. The makers of the project explore nourishment and engage awareness for the ways and methods of growing, cooking and sharing food, together with its social rituals inherently embodied in the community and culture.
Meet factory, International Center of Contemporary Art
Ke Sklárně 3213/15 150 00, Prague 5, Czech Republic
5. June – 25. August 2013
Masaru Iwai (JP), Jan Nálevka (CZ), Kristýna a Marek Milde (CZ/US),
Pipilotti Rist (CHE), Janek Rous (CZ), Lucia Sceranková (CZ),
Curator: Karina Kottová
Cleaning and destruction can be seen as two basic principles within the duality of Apollonian and Dionysian, yin and yang. The key interest of this show is the transmission from one to another: from order to chaos, from serenity to uncontrolled passion. In Herman Hesse’s writings, these principles are often personalized, depicted as opposite forces, such as the rational Narcis and the emotional Goldmund, two monks in a medieval monastery, both in their own way longing to find the essence of life. While one decides to explore the realm of ratio within the safe fences of his sanctuary, the latter follows his urge to give in to his passions and live on the edge of life and death, beauty and horror. However, as the author explores further in his Steppenwolf, these characteristics rather meet in a single human mind, together with a number of other “souls” or principles that cannot be simply categorized. We are both rational beings and wild beasts, and while we often need to clean up the mess we made, we also long (or can’t help) to create it at the first place.
Works to be featured in this exhibition are looking for certain “in-betweenness”, for order that is reversed by a simple act, which disturbs the original cleanliness and opens a window into “the other world” of illogic behavior, obscurity, deviation or even madness.
Solo Exhibition by
Kristyna a Marek Milde
Opening: Wednesday, December 19th from 6pm
Open until: January 13th, 2013
Please join us for the opening of our solo exhibition “The Homescape” opening December 19th at Karlin Studios in Prague.
The show investigates on the field of domesticity how architecture and postindustrial reality influences the way of understanding nature. It engages the dilemma between nature and architectural structures and its impact on the current environmental issues. It follows a phenomenon of a new special kind of species: “Homo Interius” a contemporary human, who spends most of its life inside of a white cube separated from the influence of the surrounding environment ultimately resulting in his interior perspective of the outside. “The Homescape” presents parallels between artificial constructs and nature positioning the alienated interior environment in larger context of nature and landscape.
Artists‘ talk and workshop by Kristyna a Marek Milde
Sunday, November 4th, 2pm
MoMa, Cullman Building, Mezzanine
4 West 54th Street between 5th and 6th avenues
We are very pleased to be invited to o give an artists‘ talk and a workshop at the Mildred’s Lane and The Mildred Complex(ity) as part of the exhibition project MoMA Common Senses at the Museum of Modern Art.
If possible please bring a handful of dust sweepings from your apartment for the workshop with you.Just sweep it in a plastic bag before you go!
Brooklyn based artists Kristyna and Marek Milde present their projects engaging culture of living and domesticity . Looking at what is “swept under the carpet,” their work investigates how the comfortable interior environment of our homes produces a culture of alienation from nature. Their projects often take the form of DIY home improvements, and revisit the role of furnishing, cleaning and decorating and its function inside of a white cube to produce the feeling of home. Their work explores ways of transforming our spaces of dwelling, revealing its connection to a larger environmental context of culture, geography and nature.Participants at MoMA Studio will have the opportunity to share their ideas about the elements that contribute to their sense of home. Additionally, participants are encouraged to be part of a Do it Your Self project called “The Color of The Home” a workshop in which a colored wall paint pigmented by ordinary household dust will be made producing a color chart. If possible, please bring a handful of dust swept up in your home in a plastic bag.
Organized in conjunction with the exhibition Century of the Child: Growing by Design, 1900–2000 (July 27–November 5, 2012), MoMA Studio: Common Senses is a multisensory environment at the intersection of education, design, and art that aims to foster our evolving relationships with nature, technology, and our everyday surroundings through community interactions and creative play. A series of drop-in activities, workshops, and ongoing projects for audiences of all ages integrates components such as light, nature, food, textiles, games, and technology. Artists, designers, and educators including Fritz Haeg, J. Morgan Puett of Mildred’s Lane and The Mildred Complex(ity), Karen Hewitt, Reggio Children, and others engage visitors in generative and sensory experiences from harvesting an edible garden and creating light-based scapes installations to engaging with an experimental school and playing with new and familiar toys and games. Visit MoMA.org/learn for more information.
“What is it that we need to learn in the 21st century?” J. Morgan Puett of Mildred’s Lane and the Mildred Complex(ity) poses this question to visitors of MoMA Studio in a series of events and a workshop space. Based in northeastern Pennsylvania, Mildred’s Lane is a working-living-researching environment made up of a community of artists interested in fostering new modes of social engagement with every aspect of life. From discussions to meals, interactions at MoMA Studio focus on our relations with each other and our environments, systems of labor, and aspects of holistic living as they relate to contemporary culture. Gleaning from her sense of aesthetics and design, Puett’s installation and living archive invites visitors to explore inventive forms of domesticity, tactile qualities related to textiles, and the natural states of food—gathered from Fritz Haeg’s Domestic Integrity Field Part A-1, also a part of MoMA Studio—while fellow artists invite the public to engage in their practice on frequent, impromptu visits.
These frequent visits by collaborating artists, writers, and critics at Mildred’s Lane invite the public to participate in collective tasks and discussions, from hosting food-related events to explorations of creative processes related to the visual arts, writing, biology, and more. All Swarmings take place at MoMA Studio: Common Senses on an impromptu basis during opening hours, unless otherwise noted.
Please join us for the opening and talks at the Queens College Art Center
Visit us at:
Open Studio Weekend
September 8 – 9th, 11AM – 7PM
organized by the Brooklyn Museum featuring works by local artists.
You can find us on the map under the number 1678.
our location:1416 Willoughby Avenue, Brooklyn, NY 11237
During GO, Brooklyn artists will open their studios to the community, sparking a dialogue between artists and their neighborhoods. Newly informed by the artist about the artistic process, studio visitors will be empowered to nominate artists for inclusion in a group exhibition to be held at the Museum. Based on community nominations, Museum curators will create an exhibition to open on Target First Saturday in December 2012.
Organized by the Museum’s Managing Curator of Exhibitions, Sharon Matt Atkins, and Chief of Technology, Shelley Bernstein, GO is inspired by two established programs: ArtPrize, an annual publicly juried art competition in Grand Rapids, Michigan, and the long tradition of open studio weekends held each year in the Brooklyn neighborhoods of Williamsburg, Greenpoint, DUMBO, Gowanus, Red Hook, and Bushwick.
Bushwick Open Studios
Sat. June 2nd, 1-10PM
The Bushwick open Studios are back! Come to join us for the show 8+, which will be open one day only on
Saturday, June 2nd, from 1pm to 7pm.
Opening party in the evening 7-10pm with music and DJ Nanoru. Outdoor screening in the garden after dusk. BOYB!
Exhibition 8+ presents works by Zeljka Blaksic, Mike Estabrook, Vandana Jain, Richard Jochum, Tom Kotik,
Kristyna and Marek Milde, and Anne Percoco. Organized by Kristyna and Marek Milde.
To find out about the other events and view our profile visit the Arts in Bushwick website.
Family Talk/ Rodinne Promluvy
June 5th – August 26th, 2012
curator: Marco Antonini
Opening reception Tusday June 5th from 6pm
by Simone Ciglia, published in the September issue in Italy
Workshop by Kristyna and Marek Milde
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 firstname.lastname@example.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!
Saturday, April 21st, 4-6pm
The Amplify Action team is excited to introduce our participating artists for Amplify Action: Sustainability Through the Arts. This exceptional group of artists, both local and beyond, will present works that engage with a diversity of topics related to community sustainability, inspiring audiences to question, discuss, and take action. Explore the artists’ work by following the links below.
Elaine Angelopoulos | local-artists.org/user/4807/cv
Jean Brennan | www.jeanbrennan.tumblr.com
Adam Brent | adambrent.com
Roberto deJesus | www.artslant.com/global/artists/show/139614-roberto-de-jesus
Wolfgang Ryan | www.wolfgangryan.com
Barbara Ekström | www.barbaraekstrom.se
Carrie Grubb | carriegrubb.com
TTK | gottkgo.com
Christopher Ho | www.christopherho.com
YK Hong | www.ykhong.com/ykart
Artcodex | www.artcodex.org
Bernard Klevickas | www.bernardklevickas.com
Michael Konrad | www.konradprojects.net
Mary Mattingly | www.marymattingly.com
Kristyna & Marek Milde | www.mildeart.com
Michael Millspaugh | www.lakegeorgearts.org/michael_%20millspaugh.htm
Simonetta Moro, Tattfoo Tan, and students of Eugene Lang College and New School for Liberal Arts | simonettamoro.com
Antonia Perez | www.typeandyou.com/repurposes/24_perez/index.html
Kevin William Reed | www.kevinwilliamreed.com
Aya Rodriguez-Izumi | www.iamaya.com
Vincent Romaniello | vincent-romaniello.blogspot.com
Andrew Scott | www.afsart.com
Robert Stephenson | www.robstephenson.com
Means & Ways: Radek Szczesny Jenny Way | www.artslant.com/global/artists/show/44622-radek-szczesny?tab=PROFILE
Kioka Williams, Bed-Stuy Community Quilt Project | www.facebook.com/bedstuyunity.fiberart
All are welcome to join artists and community members in celebrating this occasion. Please RSVP here.
More info www.amplifyaction.org
Amplify Action: Sustainability Through the Arts
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.
Ann Holder, Associate Professor, History, Social Science & Cultural Studies, Pratt Institute
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
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
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
Brooklyn Rail Article, September 2011, by Gail Victoria Braddock Quagliata
PERMANENT INSTALLATION AT NURTUREART
In Loving Memory, Kristyna and Marek Milde’s strangely sweet homage to the discarded, now permanently occupies NurtureArt’s rooftop space. Stepping out onto the gallery’s deck one scorching August afternoon and waiting for my eyes to adjust to the shocking sunlight, I initially thought this exhibition looked like any Brooklyn rooftop hangout, with mismatched, weather-beaten chairs strewn about the space in conversationally-logical groupings. My eyes adapted and I noticed, in a far corner, THE PANEL: that iconic, graphically subdued piece of common museum/government/historical site signage that screams “official informational document” or, plainly, “read this sign and understand why you’re standing here reading this sign.”….. read the rest as a PDF
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To learn more about the project In Loving Memory click here
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
Project IN-TREE-NET in Gallery Califia
EXTENDED till September 12, 2011
as part of the Tik-Tak exhibiton
Directions: Horazdovice, Czech Republic
July 4th, 2011 - August 1st, 2011
Opening Reception, Monday, July 4th, from 8 PM
Directions: Chateau Horazdovice, 341 01 Horazdovice, Czech Republic
June 21st, 2011 – EXTENDED till October 31st, 2011
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
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.