On February 16, CATM chelsea opened Desde la Tierra al Cielo, “From Earth To Heaven,” a critical solo exhibition for Spanish-born multimedia artist Nuria Román who has continued to confront the innate reciprocality between human and nature. CATM’s Desde la Tierra al Cielo is comprised of various mixed-media works combining paint, ceramic, stone, metal, woodprint, site-specific installation and photography.
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CATM CHELSEA and Fund Art Now
SYNAPSE by Yasuto Sasada (Japanese artist)
November 3rd until December 4th, 2011
500 10th Avenue
Installation, photograph courtesy of CATM
Restrain from squashing the next cockroach you see: he may be your last. Could you imagine New York City citizens championing for our blackbeetle buddies? Artist Yasuto Sasada rallies people in Japan to help those who have been hurt by the series of natural disasters that have profound effects on the island—including the Ookuwagata beetle. Sasada not only portrays pests on the verge of extinction, but he more-accurately documents the current in Japan through tradition. Culturally, his artworks reflects rebuilding of Japan: each work is a whole comprised of individual parts echoing Japanese people’s engineering aptitude and embrace of Japan’s “whole.”
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500 West 22nd Street, New York, NY 10001
September 1st until 25th, 2011
As the 2012 art year commences, “artworld-ers” rush back to NYC quicker than many school children. While most of us wait for 2011 to end until we try to define this year’s strongest motif, CATM Chelsea presents the fifth annual exhibition ART LIVE 2011.
Announcing not only global interconnectedness but also visual discourse, CATM Chelsea literally denounces “overeducated and overintellectualized” dialogue between art and viewer. Instead the directors of CATM Chelsea capture overwhelming enthusiasm pushing for this generation’s artistic language to break from the past.
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Erik Pauhrizi’s The Poison of our Sins @ CATM chelsea, 500 West 22nd Street, New York, NY 10011
Erik Pauhrizi, "Gold rise," 2011, 23 karat gold, size of one grain of rice
When sovereign nations attempt to improve economies and introduce fair trade laws, they must also admit tourism as well as imported products. Autonomy and cultural identity tense a native citizen’s relationships on internal-, micro- and macro-levels. A child assimilates to a newly-introduced culture; a parent forces indigenous religious practices upon younger family members; a government official refuses aid from disparate organizations.
Pauhrizi: “Old brothers,” 2011, Embroidery on Canvas, 125x196 cm; “I know your reasons,” 2011, Embroidery on Canvas, 124x195 cm; “Lol Great stamp!” 2011, Embroidery on Canvas, 174x130 cm
Erik Pauhrizi’s works featured in the solo exhibition The Poison of our Sins juxtapose visual illuminations of his personal dissatisfaction with his own self-image against brazen depictions of South East Asia’s, particularly Indonesia’s, history.
Pauhrizi tears apart, examines and documents ideologies that have been ingrained into Southeast Asian, specifically Indonesian, culture; to do so, he exploits most central customary iconography, down to a single grain of rice. Pauhrizi nearly acts as a sociologist, analyzing history and social relationships on a macro-level. His works are comprised of empirical facts and are left for the audience to convert into any philosophical arguments. Pauhrizi obviously considers contemporary issues in Southeast Asia, while The Poison of our Sins foments public unrest.
Pauhrizi, “We could be friends,” 2011, Polyester resin painted and 23 karat gold, human real size
Interestingly, The Poison of our Sins uncovers a global phenomenon that has been linked to hegemony in Iranian art research on global comprehension of symbols and iconography. Specifically, recent studies on Orientalism unveil a pattern found in general documentations of historical events. An oppressive power receives credit for written accounts of history, in turn belittling the opposing country’s authority and even authenticity. Later histories are read and only a limited-perspective is absorbed through the written works. However, spoken narratives spread without gauge nor restrictions of flow. Since past research does not record verbal exchange, it excludes information shared between cultures during countless interactions. Consequently underlying connections among cultures may exist.
The artist tempts the viewer to attribute meaning through cultural norms. Contextual details prevalent in Pauhrizi’s works play with the canonical Eurocentric view of history as a linear trajectory. Pauhrizi derives his formal technique from “traditional” Indonesian art, natural resources and sociological practices. Although Indonesian allusions prevail, they do not fully explain composition of separate works.
Pauhrizi: “Have you seen this girl,” 2011, Embroidery on Canvas, 129x209 cm; “Lost reward,” 2011, Embroidery on canvas, 128x208 cm
Pauhrizi strives to render objective views of “third-world” countries’ struggles against hegemonic powers. His goal, in and of itself, leads Pauhrizi to expose a dichotomy between linguistic descriptivism and normative. In further explanation, The Poison of our Sins guides one to view “symbols” in the context of Pauhrizi’s ethnic background, yet his works, which have been internationally displayed, direct the viewer to decipher “symbols” by associating visual form with the viewer’s previous experience.
Pauhrizi, “I am our spices,” 2011, Polyester resin and original spice prada non gold plated and copper plating, Variable size
During times of excessive colonialism and imperialism, combinations of cultural ethos are unrepresented in written history yet evident in observation. International audience often comprehends visual forms attributed to dissimilar societies. The young artist Pauhrizi recreates historical narratives by portraying overlapping connections between contemporary global thought and South East Asian cultures. Moreover, Pauhrizi creates a self-reflexive identity by immersing his own image into art works.
Erik Pauhrizi, 2011, "14th generation" series, C-Type Print Alu Dibond, each print 90x120 cm
Open until May 8th, 2011.
Installation view of Erik Pauhrizi's "The Poison of our Sins"
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