229 Greenkill Ave.
October 1-15, 2016
Opening Reception: Saturday October 1, 5:PM-8:PM
Animal Maximalism is a hyperactive schizophrenic super-destroying maximalist art show that functions as homeopathic immersion therapy for highly sensitive people (HSP) and a lullaby for all others. Sound, video, performance, painting, photography, music, and sculpture are combined into a simultaneous experience in an attempt to exercise the human sensory input manifold. Elements of The Superfund Re-Visioning Project, The Windmill Weapon Matron, The Entity and Constituents, The Giant Candle, Fun Times! , and C O D E, as well as multiple abstract paintings, and photographs were included in the exhibit.. Videos presented were Certain Solutions For Dissolving Problems, Double-Slit, The Ax In The Stump, and The Locational Trauma Transforming Trap, among others. Performances included new work by International performance artist and musician Marita Isobel Solberg, Dirt Boy, who used buckets of dirt to perform an earthmoving action called $ouls for $ale- $1 Million Buckets of Dirt, Clara Diamond reconstituted the constituents of The Entity, and dancer Lucie Parker moved through nonspecific space performing a deconstructed ballet. Musical performance by Bitty Holly Hannah and Simon Ampel of Sighanide was part of the exhibit, as well as Interactive opportunities including A Course in Miracles and Other Unlabeled Alcohol To Be Drunk and The Fuck Trump Pot Luck.
DIRT BOY is a rouge spirit. This cloaked being wanders the earth sculpting the terrain to suit his strange visions in order to transcend the dimension of violence and suffering. In 2109 Dirt Boy successfully converted the earth to use the non-linear peace dimension in which time does not exist. He has decided to demonstrate his earth moving capabilities in order to bring entertainment and wonder to those still stuck in the dimension of time, violence, and suffering.
CLARA DIAMOND is a performance artist working with impermanence, degeneration, and transformation, seeking to challenge the notion of impermanence by presenting “art objects” such as the body, action, experience, memory, and story. Clara’s process often incorporates tactile elements such as plaster, earth, and wax to wrap, coat, or layer the physical body within a temporary installation environment. Using text features such as books, signs and spoken words, as well as thematic or narrative work cycles, Clara exploits symbols, stories, physical space, and other subtle notions of relationships. A persistent theme of object-making as performance runs through her work, resulting in the manifestation of inconsequential art-objects or garbage, which drives the procession of narrative across related pieces.
NINA ISABELLE is a multidisciplinary artist working with abstract painting, performance, video, photography, and sculpture. Her background also includes alternative process photography and modern dance. She identifies with Maximalism and Action Art, embracing the concepts of “too much” and “more is more.” Nina pushes material and information past the point of recognition in a way that forces a shift in meaning, reveling new information that can transform and challenge the limits of materials, perception, and belief. Sensory input is deconstructed to the extent that meaning becomes shifted and interpretations become a phenomena of psychic imprint. Her work often references the inability of communication which is used to visualize reality, the failure of dialogue, the dissonance between form and content, as well as the shortcomings of literal language.
Nina is the Director of Star House Gallery & Studio in Kingston, NY where she practices as a studio artist and gallery director curating group shows featuring abstract artists. In the past year she has participated in the Upstate Vignette Video Project II with F.A.G (Feminist Art Group) from Brooklyn at Rosekill, performed at Panoply Performance Lab in Brooklyn as well as at The Linda Mary Montano Art / Life Institute in Kingston. Her work has been exhibited at Czong Institute for Contemporary Art (CICA) Museum in Gimpo, Korea as well as in The New School’s Social Justice Show at The Bushwick Collective. She is currently a contributor to The Jurnquist Coloringbook show by Honey McMoney at Studio Fidlär in Berlin, her film Mother vs. God will be shown at The San Diego Art Institute in October, and in January 2016 Nina was interviewed by the International Art Publication, ArticulAction Special Issue.
LUCIE PARKER is a multidisciplinary artist studying modern dance, martial arts, photography, visual art, and theatre. Lucie is a student of Hudson Valley Sudbury School and lives in Kingston, NY.
SIGHANIDE is what happens when feral backwoods Appalachia meets bluesy city rhythm. With Bitty Holly Hannah sculpting out melancholy songs and Simon Ampel, on drums, executing the rhythm. Outside of Sighanide, Bitty is a multi-disciplinary artist and student, focused on the study of healing religious trauma through art. Simon is an animated film-maker enraptured with drawing movement and memory. Both hailing from their own mountains, they found one another in the midst of Brooklyn's madness.
MARA AKA MARITA ISOBEL SOLBERG is an international performance artist, musician, and visual artist from Tromsø and Manndalen, Norway. She is working in the borderline between art, life and science, focusing mainly on sound, performance art and installation. Experimenting with different medias in her work and interweaving elements from the surroundings, Solberg’s work is often site-specific and relational, reinforced by a strong performative tension. The works explore a world of challenge, strangeness, melancholy and desire sometimes with narrative passages or content, mixing with more symbolic and ritual elements.
THE WINDMILL WEAPON MATRON
Dimensions: 90h x 53w x 45d
Materials: Sawhorse, Lumber, Construction Materials, Spray Paint, House Paint, Afghans, Weapons, Bicycle Parts, Yarn, Plaster, Terra Cotta, Chain.
Date: May 12, 2016
The Windmill Weapon Matron is a dangerous female machine expressing an active stance and aggressive posture. She no longer identifies as passive and has most recently emerged as an international threat.
Based on a jumbled compilation of afghans, defunct bicycle parts, weapons, lumber, and chain her biographical narrative has been holographically reconfigured into a destructive biological machine made of woman’s time. While The Windmill Weapon Matron acknowledges her destructive approach as a natural response to her capacity for childbirth, she hesitates to dichotomize the two simply saying “Come, let me destroy you.”
Utilizing a process of defiance The Windmill Weapon Matron has successfully developed a system capable of transforming eye-rolling, financial aid application trauma, stuffed animal over population, and hair pulling as well as other sensory input bull shit into a clean, renewable, and sustainable energy source for mothers.
Nobody will lend her a chainsaw, it’s safe to breed with her.
She makes a mockery of science, her system is nervous.
Her face is spinning.
When she was a virgin politicians killed and ate her, she is secular.
Her system has calcified.
She loves The Antichrist, she birthed a female bastard.
She wan’t trained up the way she should go.
The system tries to destroy her.
She has nothing to depart from, rabbits fear her.
She has been relieved of advantage.
Her system is unkillable.
THE Q:ENTITY AND Q:INFORMATICUS
Clara Diamond / Nina Isabelle
Q:Informaticus, a division of The Q:Entity Corporation, is designed to generate constituents as information receptacles programmed to solve unreal and/or otherworldly problems.
Q:Informaticus directs functional information along proper dispersal channels activating the psychic conduits of multiple physical bodies. Activation originates at the coccyx and rises through the spine while keeping operational residence within the instinctive functioning portions of the guts, heart, and brain meat, matter, fluid, and circuitry using complex interlaced bacteria and neuroelectric pathways programmed to transmit and receive local and non-local information. The sensory input perception manifolds within all programmed constituents will evolve and transform comfortably to reduce validation of information received through the physical portals known as eyeballs, tongue, ears, and skin. Alternative modalities of perception will be established and activated.
Q: Informaticus: for people who want to solve unreal and / or otherworldly problems.
There are few career paths, be it scientific research, business, design, medicine, the fine arts, or telecommunications, in which Q won't play an important part of your work.
Healthcare specialists use Q records to help diagnose disease and discover new ways of treating patients. Advertising firms use Q data to create visualizations of customer behavior. Environmental scientists compile big Q data to track the impact of climate change. Smartphones are awash with Q apps that can do everything from pay your bills to find the next band you might like.
All of those applications and much more are Q: informaticus in action putting Q to work to solve complex problems. Utilizing Q: informaticus to study Q technology impacts academic disciplines in the science, arts, medicine, business, and telecommunications fields.
Q is also one of the fastest growing fields in technology, and the demand is high. Last year alone, 88 percent of Q: informaticus constituents secured full-time employment within six months. Among students holding Master's degrees or a Ph.D., 98 percent accepted employment within six months of graduation. In a world of stagnating salaries, Q: informaticus constituents also enjoy an average salary.
Q:Informaticus lays out a bright, flexible, structural path to a future and imparts valuable real-world experience and works side-by-side with some of the most innovative thinkers in the field. Q:Informaticus prepares, excites, severs programming, technologizes, and generates futures.
THE SUPERFUND RE-VISIONING PROJECT
The Superfund Re-Visioning Project is an experimental artistic process that aims to transform contaminated industrial sites recognized by The United States Government as Superfund Sites. In New York State there are one hundred and seventeen Superfund Sites, this project will focus on transforming and energetically remediating those sites by redirecting potential energy toward alternate futures using combinations of photography, dance, video, song, sculpture, writing, and drawing.
Superfund sites are polluted locations requiring a long-term response to clean up hazardous material and contaminations. CERCLA authorized the United States Environmental Protection Agency (EPA) to create a list of such locations, which are placed on the National Priorities List (NPL). CERCLA stands for the Comprehensive Environmental Response, Compensation, and Liability Act, known also as Superfund. It was passed in 1980 in response to some alarming and decidedly unacceptable hazardous waste practices and management going on in the 1970s. While CERCLA and other Government agencies have been able to compile large lists, testing, and data their processes often lack resolve and are tremendously expensive. Environmental contaminations such as those found in many of the New York State Superfund Sites has been implicated as a possible factor contributing to global warming.
Three New York State Superfund sites have been preliminarily re-visioned In order to illustrate the process of The Superfund Re-Visioning Project and to function as examples for interested artists and community members to consider. The preliminary Superfund site re-visions include the Boices Lane Office Depot building in Kingston, NY., a defunct IBM Industrial Complex in Kingston, NY, and an archived Superfund site located in West Hurley, NY called Numrich Arms that has operated as a weapons and ammunition manufacturing facility.
1. BOICES LANE OFFICE DEPOT
The Office Depot Superfund Site has been re-visioned as a future bio dome for butterflies.
Project Completion Date: 2816
State environmental officials have added the Boices Lane plaza where Office Depot used to operate to a list of Superfund sites that pose a threat to public health. The Department of Environmental Conservation, in a notification dated Oct. 21, said the contamination was found in an area of the property where there previously was a dry cleaner. “Based on investigations the primary contaminants of concern include tetrachlorethylene (PCE) and its degradation products in the groundwater, soil, soil vapor and/or indoor air,” the department wrote.
2. IBM / TECH CITY KINGSTON
The archived IBM Superfund site has been re-visioned as a research and treatment center for those who have lost the ability to communicate telepathically.
Project Completion Date: May 5, 4011
The condemned IBM / Tech City complex is a superfund site located along Neighborhood Rd in Kingston, NY. The Environmental Protection Agency (EPA) identifies sites such as IBM / Tech City because they pose or had once posed a potential risk to human health and/or the environment due to contamination by one or more hazardous wastes. IIBM is currently registered as an archived superfund site by the EPA and does not require any clean up action or further investigation at this time.
3. NUMRICH GUN PARTS CORPORATION
Numrich Gun Parts Corporation has been re-visioned as the future archaeological dig site revealing artifacts that will implicate technologies role in the destruction of humans.
Project Completion Date: May 5, 3016
Numrich Gun Parts Corporation is a weapons and ammunition manufacturing plant and distribution center located in West Hurley, NY. that had been investigated for lead contamination of nearby residential water wells. The Environmental Protection Agency (EPA) identifies sites such as Numrich Gun Parts Corporation because they pose or had once posed a potential risk to human health and/or the environment due to contamination by one or more hazardous wastes. Numrich Gun Parts Corporation is currently registered as an archived Superfund site by the EPA and does not require any clean up, action, or further investigation at this time.
The effectiveness of The Superfund Re-Visioning Project lies in its ability to utilize a combination of existing contaminated locations and factual documentation of specific contaminating factors in conjunction with fictional and ridiculous psychic predictions presented as fact in order to further blur the lines between science and belief and to challenge the validity of projected and legitimized possible future outcomes. In this way, The Superfund Re-Visioning Project shifts belief and science in a way that helps us recognize our own ridiculousness as a possible culprit. Ridiculous circumstances call for a ridiculous approach.
Within The Superfund Re-Visioning Project, and specifically in the case of environmental contamination, levels of ridiculousness may indicate high probability of successful outcome. Because Earth's current level of environmental contamination and global warming are ridiculous, it is logical to conclude a solution based on ridiculousness. This is a creative artistic approach to shifting perception of science and logic.
CERTAIN SOLUTIONS FOR DISSOLVING PROBLEMS
VIDEO / 2:53
Nina Isabelle 2016
Certain Solutions For Dissolving Problems compiles digital imagery, audio, photography, and writing from The Superfund Re-Visioning Project into a video that addresses the failure of language and processes used to confront social and political issues such as environmental contamination. Using subtle neurolinguistic programming tactics combined with inaudible frequencies this video implants the idea of psychic reprogramming as a possible solution to artistic process displacement and underutilized artistic visions within the financial and political structures intended to remediate environmental contamination. In September 2016 Certain Solutions for Dissolving Problems was included in an exhibition called Artist and Location at The Czong Institute For Contemporary Art in Gimpo, Korea.
LOCATIONAL TRAUMA TRANSFORM
VIDEO / WOVEN OBJECT 2:53
Nina Isabelle / Neva Isabelle 2016
Neva & Nina Isabelle construct a handwoven trauma trap using black silk and gymnastics chalk that is used to absorb and transform trauma located at 40.8987° N, 77.3561° W.
THE GIANT CANDLE - ENVIRONMENTAL HEALING SPELL BY PROXY
VIDEO / 2:43
Nina Isabelle 2016
The Giant Candle - Environmental Healing Spell By Proxy is a video spell designed as part of The Superfund Re-visioning Project. This video works remotely with an undisclosed location in Ulster County, NY that is the subject of industrial solvent contamination, death threats, labor rights violations, hauntings, and suicide by forklift. The Giant Candle burns by proxy to cleanse the location remotely. Voice- Brittany Holly Hannah / Dance- Lucie Parker.
C O D E
VIDEO / PAINTING 5:35
Nina Isabelle 2016
This work was made in response to Apple’s battle with the FBI over a federal order to unlock the iPhone of a mass shooter and looks at the differences between humans and machines, specifically ways information and data can be hidden or revealed by programming, intention, or choice.
THE AX IN THE STUMP
VIDEO / 3:16
Nina Isabelle 2016
The Ax in The Stump tells the story of Terror- as both a fabled horse from a North Indian Fairy Tale and the torture that can ride through family histories for generations. The video is directed by Nina Isabelle using a voiceover sampled from Ellen Vereniek narrating Magic Hoofbeats and an anonymous cast member.
MOTHER VS. GOD
VIDEO / :47
NINA ISABELLE 2016
Mother vs. God is an experimental video that uses personal photographs combined with multiple sound tracks of digitally altered voice and electrified violin. The compilation of multiple media and input results in a distortion that parallels the dialogue that can exist between religious beliefs and psychotic delusions. In October 2016 Mother vs. God was chosen by Marilyn Manson’s Daisy Berkowitz, Scott Mitchell Putesky, as part of The San Diego Art Institute’s show The Dead Are Not Quiet.
VIDEO / 1:01
Nina Isabelle 2016
Referencing the magical incantation “As above, so below” from Hermetic Alchemy and Thomas Young’s original Double-Slit Experiment from 1801, Double Slit asks- does science suggest that man’s actions on earth might parallel actions within infinite multiple invisible lateral physical dimensions?