Name: Second Sundays: March 2019
Start: 2019-03-10
End: 2019-03-10
Location: Pioneer Works

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We're pleased to announce the first major renovation of Pioneer Works! To accommodate the first phase of our construction, we're temporarily relocating to 133 Imlay Street opening in Spring 2022.

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Food and drinks by Brooklyn Chef Collective and Pioneer Works Bar.

Atelier van Lieshout: The CryptoFuturist and the New Tribal Labyrinth

 we are presenting a special performance of 

 by Valerie Green/Dance Entropy at this Second Sundays. Learn more 

&nbsp;
Food and drinks by Brooklyn Chef Collective and Pioneer Works Bar.
On the occasion of <a href="https://pioneerworks.org/exhibitions/atelier-van-lieshout-the-cryptofuturist-and-the-new-tribal-labyrinth/">Atelier van Lieshout: The CryptoFuturist and the New Tribal Labyrinth</a> we are presenting a special performance of UTOPIA by Valerie Green/Dance Entropy at this Second Sundays. Learn more <a href="https://pioneerworks.org/programs/utopia/">here</a>.

Second Sundays is a free event series that engages Pioneer Works disciplines through live music, food, artists’ open studios, and interactive programs.

Second Sundays

For his largest-scale exhibition in the United States, The CryptoFuturist and The New Tribal Labyrinth, AVL draws from two bodies of work that give the exhibition its name. They transform Pioneer Works into an immersive installation of sculptures and industrial machines. Central to the New Tribal Labyrinth series is Blast Furnace (2013), an imposing structure referencing Industrial Revolution-era furnaces traditionally used to produce steel. The sculpture also contains domestic elements such as a kitchen, toilet, and sleeping quarters. This environment is inhabited by an imaginary tribe of metalworkers, a “new tribe” with a visceral desire to return to the beginning of industry—the origins of Western culture, wealth, materials, and products. This tribe feeds off the heat, waste, and noise of their industrial utopia, setting the stage for the synthesis of human and machine. Some of the works in the New Tribal Labyrinth series express this synthesis through sculptural representations of sperm and reproductive organs doubling as lamps and furniture. They posit the human body as itself a kind of machine, endlessly procreating. 

Other works in the exhibition are part of AVL’s CryptoFuturist series, which takes its name, in part, from the Greek kryptós—“hidden” or “secret,” as in a person covertly supporting a group, party, or belief. In this body of work, AVL revisits the Italian Futurists, who in the 20th century glorified new technologies, cities, and war finding in them a parallel to fascist tendencies we face today, such as genetics, robotics, and big data. The sculptures propose a range of solutions to fundamental problems like a machine that turns waste material into new food supplies, or a DIY nuclear reactor. Some objects such as a bronze hammer and sickle, a symbol of the Russian Revolution, nod to the rise and fall of past political movements. Pendulum (2019), a new work premiering at Pioneer Works, is a massive, mechanical clock powered by a swinging pendulum. The clock’s hands tick loudly, ominously counting down to the “end of everything” which then ushers in the “beginning of everything”—a perpetual cycle of destruction and creation characteristic of our constant search for utopia. Mechanical Press (2019), a sculpture which crushes objects daily beneath its weight, evokes these same metaphysical cycles.

While AVL envisions utopian modalities for living, these modes can just as likely lead to a world of violence and extremism. Exposing the links between the past and the present, he also lets the viewer play a game of nostalgia for bygone political theorems and movements.

Atelier Van Lieshout: The CryptoFuturist and The New Tribal Labyrinth is curated by Gabriel Florenz and Natalie Kovacs.

About the Artist

Sculptor, painter and visionary Joep Van Lieshout (b. 1963 in Ravenstein, Netherlands) was accepted to the Rotterdam Academy of the Arts at sixteen years of age, and has been working solely under the name Atelier Van Lieshout (AVL) since the studio’s founding in 1995. AVL has established a multidisciplinary practice that produces works on the borders between art, design, and architecture. Work by AVL has been exhibited at museums and galleries worldwide, and is in the collections of MoMA, New York; FNAC, Paris; Stedelijk Museum, Amsterdam; Prada Foundation, Milan; and Museum für Gegenwartskunst, Zürich.

This program is made possible with support from the Mondriaan Fund, the public cultural funding organization focusing on visual arts and cultural heritage, and is part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York. This exhibition is also supported, in part, with funds from New York State Council on the Arts.

<img src="https://pioneerworks.org/wp-content/uploads/DutchCultureUSA_logo_url.jpg" alt="" />

<img src="https://pioneerworks.org/wp-content/uploads/Logo-downloads-EN-web-grijs_200.jpg" alt="" />

Atelier Van Lieshout: The CryptoFuturist and The New Tribal Labyrinth

En El Monte is an immersive environment created by Alejandro Piñeiro Bello, Jose Capaz, and FABELOHUNG (Roberto Fabelo Hung). Featuring a site-specific installation of metal flagpoles and ten virtual reality works filmed in New York, Havana, and Key West, the exhibition takes Havana’s Tribuna Antimperialista (Anti-Imperialist Tribune) as the jumping off point.

Tribuna Antimperialista was the site of a long-term propaganda battle in the late 1990s between the Cuban government and the United States Interests Section, Havana (USINT), which was situated in a building across the street from the square. In 2006, the United States installed a five-feet high ticker tape display across the top floor of the building which broadcast messages and quotes from Martin Luther King Jr. and other cultural figures such as the comedian George Burns, who once remarked: “How sad that all the people who would know how to run this country are driving taxis or cutting hair.” The Cuban government responded by erecting the monument Monte de las Banderas, or Wall of Flags, out of one hundred fifty flags to commemorate "victims of US aggression" and to partially block the ticker. At Pioneer Works, En El Monte evokes this square with an installation of flagpoles, onto which virtual reality headsets are attached.

Among the video works, El año del caballo (The Year of the Horse) most directly references the square, as it was filmed within Monte de las Banderas. The artists superimpose exotic dancers onto the monumental flagpoles to foreground both the disparity between the sexes and the extreme measures taken by women to make ends meet during the ongoing United States embargo. The embargo’s negative impact on Cuba’s sugar industry—once a crucial component of the island’s economy—is represented within other works, wherein quintessentially colorful cakes are seen being thrown and sunken into the waters of the United States and Cuba, and playfully destroyed in a food fight.

Piñeiro Bello, Capaz, and FABELOHUNG also address the quest for freedom and escape, in works such as Street Dog and Raft (balseros view). The former follows three dogs on a commute from New York to Havana—as if following an emigrant’s path backwards; the latter, shot in the waters between Havana and Key West, features a raft fleeing illegally during the height of the Cuban Rafters Crisis in 1994. Through these works, the trio explores post-revolutionary Cuban life in the shadow of isolationism, propaganda campaigns, and economic hardship, as well as the artists’ personal paths working within the complex relationship between Cuba and its closest imperial neighbor, the United States.

This exhibition is supported, in part, with funds from New York State Council on the Arts.

This exhibition is made possible with support from the Rockefeller Brothers Fund.

<img style="width: 100%; max-width: 300px; height: auto;" src="https://pioneerworks.org/wp-content/uploads/RBF_Logo_Primary-1.png-1-1.png" />

En El Monte: Alejandro Piñeiro Bello, Jose Capaz, and FABELOHUNG

In recent years, the contours of a new contemporary art movement have begun to emerge, forged in reaction to the ideologies of Silicon Valley, the platforming and globalization of culture, and technologies of power like artificial intelligence, photorealistic computer-generated images, and virtual and augmented reality. These “Simulists” simultaneously embrace and subvert technology as their means of interrogation–expressing humanist, nonbinary, and decolonized futures. Curated by Kelani Nichole and featuring works by Morehshin Allahyari, LaTurbo Avedon, Meriem Bennani, Snow Yunxue Fu, Claudia Hart, Faith Holland, Lorna Mills, Eva Papamargariti, Tabita Rezaire, and Lu Yang, the exhibition explores identity, the body, and the politics of technology. Virtual space is inhabited with queer bodies and cultural identity is reclaimed through subversive uses of technology. The boundaries of technology and the body are blurred, as are the lines between author, image, and copy. Possible futures emerge as the layers of simulation that mediate contemporary culture are revealed. 

Refiguring Binaries is curated by Kelani Nichole, Founder of TRANSFER Gallery.

This exhibition is supported, in part, with funds from New York State Council on the Arts.

&nbsp;

&nbsp;

&nbsp;

Refiguring Binaries

Taeyoon Choi is an artist and a co-founder of School for Poetic Computation in New York City. His practice involves performance, electronics, paintings, and installations that form the basis for storytelling to explore the connection between race, gender, disability and environment. He was a fellow at Data and Society and Eyebeam Art and Technology Center. His projects were presented at the Whitney Museum of American Art and Los Angeles County Museum of Art. In 2019, Taeyoon is working on Distributed Web of Care and ongoing research with a critical perspective towards technology, ethics, justice and sensitivity to the concept of personhood.

Taeyoon Choi

Sophie Kahn is an Australian digital artist based in Brooklyn. She earned a BA in Fine Art/History of Art at Goldsmiths College, University of London; a Graduate Certificate in Spatial Information Architecture from RMIT University, Melbourne; and an MFA in Art and Technology Studies at the School of the Art Institute of Chicago, where she was awarded a full tuition Trustee scholarship.

She has exhibited her artwork in New York, Los Angeles, London, Paris, Sydney, Tokyo, Osaka, Seoul and Beijing. Recent exhibitions include ‘Rodin and the Contemporary Figurative Tradition’ at the Frederik Meijer Sculpture Gardens; ‘New Romantics’ at Eyebeam Art and Technology Center, New York; and The Real Fake 2.0, Bronx Art Space, New York. Sophie has taught in the Department of Digital Arts at Pratt Institute as a Visiting Associate Professor, and at Columbia College, Chicago, as a visiting instructor.

Sophie Kahn

Matthew D. Gantt is an artist and composer based in Queens, NY. His practice focuses on (dis)embodiment in virtual spaces, procedural systems facilitated by idiosyncratic technology, and the recursive nature of digital production and consumption. He has presented or performed at a range of institutional and grassroots venues, including Panoply Performance Laboratory, New Museum, The Stone, Issue Project Room, and internationally at IRCAM (Paris) and Koma Elektronik (Berlin). Gantt releases music with Orange Milk and Oxtail Recordings, teaches extended media and experimental composition at Harvestworks, and worked as a studio assistant to electronics pioneer Morton Subotnick from 2016 – '18.

Lindsey Drury is a performance artist, dancer, choreographer, and arts-historical researcher from NYC, currently based in Berlin. As an artist and academic, Drury creates systems in which bodies and their function are conceived, deceived, received and perceived anew. Drury’s performances have been featured in various showings at venues around the world, including in Germany at CAT Cologne, Grüntaler9, and Theater Discounter; in Mexico at UDLAP; in New York City at the Queens Museum, Judson Church, Cunningham Studio, Brooklyn Arts Exchange, Gibney Dance, Danspace, Dance New Amsterdam, The Chocolate Factory, the Brooklyn International Performance Art Festival, Issue Project Room, and elsewhere.

Matthew Gantt and Lindsey Drury

Ziemba is the performing moniker of NYC-based musician, composer, perfumer, and cultural geographer René Kladzyk. Ziemba’s multisensory creations playfully interrogate space, perception, and the body. Since first making an incense for her debut album (using flowers from the yard of her childhood home), Ziemba has increasingly employed fragrance as a vehicle for transforming sonic spaces. Her new full length album, ARDIS, functions as a series of portals into a feminist sci-fi adventure and parallel world. It will be released sequentially throughout the spring and summer of 2019, in the form of audio download, limited batch fragrance, video, tape and vinyl.

Ziemba

Lorena Barrera Enciso is a Mexican filmmaker, painter, and performance artist. In her work, she uses her experience as a body with many homes to explore the sense of longing that is inarticulate and without language. The objects and images created in these explorations become the result of frustrated attempts at intimacy. Barrera Enciso grew up in Mexico and Switzerland and immigrated to the US when she was 18. She obtained her BFA from the School of the Art Institute of Chicago. Barrera Enciso has exhibited her work at Chicago Filmmakers, Onion City Film Festival, and Gene Siskel Film Center, all in Chicago, IL, and Massachusetts College of Art and Design in Boston, MA.

Lorena Barrera Enciso

Ezra Wube is a mixed media artist born in Ethiopia and based in Brooklyn, NY. His work references the notions of past and present, the constant changing of place, and the dialogical tensions between “here” and “there.” His work has been shown at the Gwangju Biennial, Gwangju, South Korea; Museum of the Moving Image, Queens, NY; the 13th Biennial de Lyon, Lyon, France; Dak’Art 2014 Biennale, Dakar, Senegal; the 18th International Festival of Contemporary Art SESC_Videobrasil, São Paulo, Brazil; and as part of the Times Square Arts Midnight Moment, New York, NY. His residencies and awards include LMCC Workspace Residency Program, the Drawing Center, Rema Hort Mann Foundation, and the Triangle Arts Association Residency, all in New York. Wube received his BFA from Massachusetts College of Art and an MFA from Hunter College.

Ezra Wube

Jess Johnson was born in Tauranga, New Zealand in 1979. In 2016, she relocated permanently to New York after twelve years of living and working in Melbourne, Australia. Her practice is influenced by the speculative intersections between language, science fiction, culture, and technology. Her drawings depict complex worlds that combine densely layered patterns, objects, and figures within architectural settings. Johnson’s drawings are often displayed within constructed environments that act as physical portals into her speculative worlds. Her recent collaborations with Simon Ward have involved translating her drawings into animated video and virtual reality, giving audiences the simulated experience of entering the hypnotic realms depicted in her drawings. Johnson’s work has been exhibited at Jack Hanley Gallery, New York, NY; Art Basel, Hong Kong, China; Talbot Rice Gallery, Edinburgh, Scotland; Hubei Museum of Art, Wuhan, China; Centre Clark, Montreal, Canada; National Gallery of Australia, Canberra, Australia; Museum of Contemporary Art, Sydney, Australia; Alaska Projects, Sydney, Australia; Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand; Artspace, Auckland, New Zealand; and National Gallery of Victoria, Heidi Museum of Modern Art, Monash University Museum of Art, and Gertrude Contemporary, all in Melbourne, Australia.

Simon Ward worked in feature film costuming for ten years. During this period, he developed a video making practice which eventually became his major focus. His work in video and animation is varied and usually involves collaboration with musicians, writers or visual artists. He has made over 50 music videos, directed three seasons of an animated comedy series, and his video and virtual reality collaborations have been shown in New York, Tokyo, Hubei, Edinburgh, San Francisco, Melbourne, Sydney, Canberra and Hong Kong. Influenced by the history of cinematographic special effects and animation and new developments in virtual reality technology, his work involves generating visual imagery that mixes reality with the fantastical.

Jess Johnson &amp; Simon Ward

Kenneth Tam is a New York-based artist born in Queens, NY. He has held solo exhibitions at the Minneapolis Institute of Art, Minneapolis, MI; MIT List Center for Visual Arts, Boston, MA; Commonwealth and Council, Los Angeles, CA; and Night Gallery, Los Angeles, CA. Tam has participated in recent group shows at 47 Canal, New York, NY; Hollybush Gardens, London, UK; Hammer Museum, Los Angeles, CA; and will be included in SculptureCenter’s upcoming In Practice exhibition. He has participated in residencies including LMCC Workspace, Artist Lab at 18th Street Arts Center in Santa Monica, and the Core Residency Program at the Museum of Fine Arts, Houston. He is the recipient of a Foundation for Contemporary Arts Emergency Grant, California Community Foundation Fellowship, and Art Matters Foundation Grant. Tam is currently Guest Faculty at Sarah Lawrence College and will be a Lecturer at Princeton University in the spring.

Kenneth Tam

Avram Finkelstein is an artist, writer, and founding member of the Silence=Death and Gran Fury collectives. His work has been shown at MoMA, the Whitney Museum, the Cooper Hewitt Museum, and the Metropolitan Museum, all in New York, and is in the permanent collections of MoMA, the Whitney, the New Museum, the Metropolitan Museum, and the Brooklyn Museum, all in New York, and the Victoria and Albert Museum in London. He is featured in the artist oral history project at the Smithsonian’s Archives of American Art and his book After Silence: A History of AIDS Through its Images was nominated for an International Center of Photography 2018 Infinity Award in Critical Writing And Research. He has been interviewed by the New York Times, Frieze, Artforum, NPR, Slate, and Interview, and spoken about art, activism, LGBTQ cultural production, and the American Left at Harvard, Yale, Columbia, and NYU.

Avram Finkelstein

Corina Reynolds, from The Center for Book Arts and Small Editions, interviews women in publishing, recording and preserving an oral history of their practice and their work. Listen to the interviews streamed live by 8 Ball Radio upstairs in the Media Lab while browsing our reading room’s curated selections of text in the Design Lab.

Voices of Women in Publishing co-presented by Center for Book Arts and Small Editions

Join us in the Science Studios for Risen Division&#8217;s space pop-up shop and find your perfect jumpsuit and accessories.

Intergalactic Dream Pop-Up Shop

Award-winning online radio station 8 Ball Radio is taking over our Media Lab where you can join them to watch live interviews hosted by Corina Reynolds and Center for Book Arts with women working in publishing today. At 7 pm, 8 Ball will livestream Kukangendai&#8217;s concert in the North Hall. Listen live at <a href="https://www.8ballradio.nyc/">www.8ballradio.nyc</a>

8 Ball Radio 

Join the Amateur Astronomers Association of New York for an interactive look into the sky. *Weather permitting

Solar and Stargazing with the Amateur Astronomers Association

Window Treatment (Diptych) is a VR and multimedia installation by Matthew D. Gantt and Lindsey Drury building on research conducted during their residency concerning physical bodies and virtual spaces.

Window Treatment (Diptych)

Kukangendai, formed in 2006, produces music through a process of editing, replicating, and deliberate error. It creates a sense of distortion and places a burden on the performers, leading to their characteristically stoic and humorous live shows.

Kukangendai

UTOPIA 
What does Utopia, mean to you? Valerie Green/Dance Entropy, in collaboration with Keren Anavy, explores the idea of the perfect place through the mediums of dance and visual art. 
Utopia has been made possible, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and NYC &amp; Company.

Valerie Green/Dance Entropy

SecondSundays_2019_March

For his largest-scale exhibition in the United States, 

The CryptoFuturist and The New Tribal Labyrinth

, AVL draws from two bodies of work that give the exhibition its name. They transform Pioneer Works into an immersive installation of sculptures and industrial machines. Central to the 

 (2013), an imposing structure referencing Industrial Revolution-era furnaces traditionally used to produce steel. The sculpture also contains domestic elements such as a kitchen, toilet, and sleeping quarters. This environment is inhabited by an imaginary tribe of metalworkers, a “new tribe” with a visceral desire to return to the beginning of industry—the origins of Western culture, wealth, materials, and products. This tribe feeds off the heat, waste, and noise of their industrial utopia, setting the stage for the synthesis of human and machine. Some of the works in the 

 series express this synthesis through sculptural representations of sperm and reproductive organs doubling as lamps and furniture. They posit the human body as itself a kind of machine, endlessly procreating.

Other works in the exhibition are part of AVL’s 

series, which takes its name, in part, from the Greek 

—“hidden” or “secret,” as in a person covertly supporting a group, party, or belief. In this body of work, AVL revisits the Italian Futurists, who in the 20th century glorified new technologies, cities, and war finding in them a parallel to fascist tendencies we face today, such as genetics, robotics, and big data. The sculptures propose a range of solutions to fundamental problems like a machine that turns waste material into new food supplies, or a DIY nuclear reactor. Some objects such as a bronze hammer and sickle, a symbol of the Russian Revolution, nod to the rise and fall of past political movements. 

(2019), a new work premiering at Pioneer Works, is a massive, mechanical clock powered by a swinging pendulum. The clock’s hands tick loudly, ominously counting down to the “end of everything” which then ushers in the “beginning of everything”—a perpetual cycle of destruction and creation characteristic of our constant search for utopia. 

(2019), a sculpture which crushes objects daily beneath its weight, evokes these same metaphysical cycles.

While AVL envisions utopian modalities for living, these modes can just as likely lead to a world of violence and extremism. Exposing the links between the past and the present, he also lets the viewer play a game of nostalgia for bygone political theorems and movements.

 is curated by Gabriel Florenz and Natalie Kovacs.

Sculptor, painter and visionary Joep Van Lieshout (b. 1963 in Ravenstein, Netherlands) was accepted to the Rotterdam Academy of the Arts at sixteen years of age, and has been working solely under the name Atelier Van Lieshout (AVL) since the studio’s founding in 1995. AVL has established a multidisciplinary practice that produces works on the borders between art, design, and architecture. Work by AVL has been exhibited at museums and galleries worldwide, and is in the collections of MoMA, New York; FNAC, Paris; Stedelijk Museum, Amsterdam; Prada Foundation, Milan; and Museum für Gegenwartskunst, Zürich.

This program is made possible with support from the Mondriaan Fund, the public cultural funding organization focusing on visual arts and cultural heritage, and is part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York. This exhibition is also supported, in part, with funds from New York State Council on the Arts.

For his largest-scale exhibition in the United States, The CryptoFuturist and The New Tribal Labyrinth, AVL draws from two bodies of work that give the exhibition its name. They transform Pioneer Works into an immersive installation of sculptures and industrial machines. Central to the New Tribal Labyrinth series is Blast Furnace (2013), an imposing structure referencing Industrial Revolution-era furnaces traditionally used to produce steel. The sculpture also contains domestic elements such as a kitchen, toilet, and sleeping quarters. This environment is inhabited by an imaginary tribe of metalworkers, a “new tribe” with a visceral desire to return to the beginning of industry—the origins of Western culture, wealth, materials, and products. This tribe feeds off the heat, waste, and noise of their industrial utopia, setting the stage for the synthesis of human and machine. Some of the works in the New Tribal Labyrinth series express this synthesis through sculptural representations of sperm and reproductive organs doubling as lamps and furniture. They posit the human body as itself a kind of machine, endlessly procreating. 
Other works in the exhibition are part of AVL’s CryptoFuturist series, which takes its name, in part, from the Greek kryptós—“hidden” or “secret,” as in a person covertly supporting a group, party, or belief. In this body of work, AVL revisits the Italian Futurists, who in the 20th century glorified new technologies, cities, and war finding in them a parallel to fascist tendencies we face today, such as genetics, robotics, and big data. The sculptures propose a range of solutions to fundamental problems like a machine that turns waste material into new food supplies, or a DIY nuclear reactor. Some objects such as a bronze hammer and sickle, a symbol of the Russian Revolution, nod to the rise and fall of past political movements. Pendulum (2019), a new work premiering at Pioneer Works, is a massive, mechanical clock powered by a swinging pendulum. The clock’s hands tick loudly, ominously counting down to the “end of everything” which then ushers in the “beginning of everything”—a perpetual cycle of destruction and creation characteristic of our constant search for utopia. Mechanical Press (2019), a sculpture which crushes objects daily beneath its weight, evokes these same metaphysical cycles.
While AVL envisions utopian modalities for living, these modes can just as likely lead to a world of violence and extremism. Exposing the links between the past and the present, he also lets the viewer play a game of nostalgia for bygone political theorems and movements.
Atelier Van Lieshout: The CryptoFuturist and The New Tribal Labyrinth is curated by Gabriel Florenz and Natalie Kovacs.
About the Artist
Sculptor, painter and visionary Joep Van Lieshout (b. 1963 in Ravenstein, Netherlands) was accepted to the Rotterdam Academy of the Arts at sixteen years of age, and has been working solely under the name Atelier Van Lieshout (AVL) since the studio’s founding in 1995. AVL has established a multidisciplinary practice that produces works on the borders between art, design, and architecture. Work by AVL has been exhibited at museums and galleries worldwide, and is in the collections of MoMA, New York; FNAC, Paris; Stedelijk Museum, Amsterdam; Prada Foundation, Milan; and Museum für Gegenwartskunst, Zürich.
This program is made possible with support from the Mondriaan Fund, the public cultural funding organization focusing on visual arts and cultural heritage, and is part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York. This exhibition is also supported, in part, with funds from New York State Council on the Arts.
<img src="https://sunset.pioneerworks.org/wp-content/uploads/DutchCultureUSA_logo_url.jpg" alt="" />
<img src="https://sunset.pioneerworks.org/wp-content/uploads/Logo-downloads-EN-web-grijs_200.jpg" alt="" />

190305_PW_008

For his largest-scale exhibition in the United States, The CryptoFuturist and The New Tribal Labyrinth, AVL draws from two bodies of work that give the exhibition its name. They transform Pioneer Works into an immersive installation of sculptures and industrial machines. Central to the New Tribal Labyrinth series is Blast Furnace (2013), an imposing structure referencing Industrial Revolution-era furnaces traditionally used to produce steel. The sculpture also contains domestic elements such as a kitchen, toilet, and sleeping quarters. This environment is inhabited by an imaginary tribe of metalworkers, a “new tribe” with a visceral desire to return to the beginning of industry—the origins of Western culture, wealth, materials, and products. This tribe feeds off the heat, waste, and noise of their industrial utopia, setting the stage for the synthesis of human and machine. Some of the works in the New Tribal Labyrinth series express this synthesis through sculptural representations of sperm and reproductive organs doubling as lamps and furniture. They posit the human body as itself a kind of machine, endlessly procreating. 
Other works in the exhibition are part of AVL’s CryptoFuturist series, which takes its name, in part, from the Greek kryptós—“hidden” or “secret,” as in a person covertly supporting a group, party, or belief. In this body of work, AVL revisits the Italian Futurists, who in the 20th century glorified new technologies, cities, and war finding in them a parallel to fascist tendencies we face today, such as genetics, robotics, and big data. The sculptures propose a range of solutions to fundamental problems like a machine that turns waste material into new food supplies, or a DIY nuclear reactor. Some objects such as a bronze hammer and sickle, a symbol of the Russian Revolution, nod to the rise and fall of past political movements. Pendulum (2019), a new work premiering at Pioneer Works, is a massive, mechanical clock powered by a swinging pendulum. The clock’s hands tick loudly, ominously counting down to the “end of everything” which then ushers in the “beginning of everything”—a perpetual cycle of destruction and creation characteristic of our constant search for utopia. Mechanical Press (2019), a sculpture which crushes objects daily beneath its weight, evokes these same metaphysical cycles.
While AVL envisions utopian modalities for living, these modes can just as likely lead to a world of violence and extremism. Exposing the links between the past and the present, he also lets the viewer play a game of nostalgia for bygone political theorems and movements.
Atelier Van Lieshout: The CryptoFuturist and The New Tribal Labyrinth is curated by Gabriel Florenz and Natalie Kovacs.
About the Artist
Sculptor, painter and visionary Joep Van Lieshout (b. 1963 in Ravenstein, Netherlands) was accepted to the Rotterdam Academy of the Arts at sixteen years of age, and has been working solely under the name Atelier Van Lieshout (AVL) since the studio’s founding in 1995. AVL has established a multidisciplinary practice that produces works on the borders between art, design, and architecture. Work by AVL has been exhibited at museums and galleries worldwide, and is in the collections of MoMA, New York; FNAC, Paris; Stedelijk Museum, Amsterdam; Prada Foundation, Milan; and Museum für Gegenwartskunst, Zürich.
This program is made possible with support from the Mondriaan Fund, the public cultural funding organization focusing on visual arts and cultural heritage, and is part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York. This exhibition is also supported, in part, with funds from New York State Council on the Arts.
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 is an immersive environment created by Alejandro Piñeiro Bello, Jose Capaz, and FABELOHUNG (Roberto Fabelo Hung). Featuring a site-specific installation of metal flagpoles and ten virtual reality works filmed in New York, Havana, and Key West, the exhibition takes Havana’s Tribuna Antimperialista (Anti-Imperialist Tribune) as the jumping off point.

Tribuna Antimperialista was the site of a long-term propaganda battle in the late 1990s between the Cuban government and the United States Interests Section, Havana (USINT), which was situated in a building across the street from the square. In 2006, the United States installed a five-feet high ticker tape display across the top floor of the building which broadcast messages and quotes from Martin Luther King Jr. and other cultural figures such as the comedian George Burns, who once remarked: “How sad that all the people who would know how to run this country are driving taxis or cutting hair.” The Cuban government responded by erecting the monument Monte de las Banderas, or Wall of Flags, out of one hundred fifty flags to commemorate “victims of US aggression” and to partially block the ticker. At Pioneer Works, 

evokes this square with an installation of flagpoles, onto which virtual reality headsets are attached.

El año del caballo (The Year of the Horse) 

most directly references the square, as it was filmed within Monte de las Banderas. The artists superimpose exotic dancers onto the monumental flagpoles to foreground both the disparity between the sexes and the extreme measures taken by women to make ends meet during the ongoing United States embargo. The embargo’s negative impact on Cuba’s sugar industry—once a crucial component of the island’s economy—is represented within other works, wherein quintessentially colorful cakes are seen being thrown and sunken into the waters of the United States and Cuba, and playfully destroyed in a food fight.

Piñeiro Bello, Capaz, and FABELOHUNG also address the quest for freedom and escape, in works such as 

. The former follows three dogs on a commute from New York to Havana—as if following an emigrant’s path backwards; the latter, shot in the waters between Havana and Key West, features a raft fleeing illegally during the height of the Cuban Rafters Crisis in 1994. Through these works, the trio explores post-revolutionary Cuban life in the shadow of isolationism, propaganda campaigns, and economic hardship, as well as the artists’ personal paths working within the complex relationship between Cuba and its closest imperial neighbor, the United States.

This exhibition is supported, in part, with funds from New York State Council on the Arts.

This exhibition is made possible with support from the Rockefeller Brothers Fund.

En El Monte

En El Monte is an immersive environment created by Alejandro Piñeiro Bello, Jose Capaz, and FABELOHUNG (Roberto Fabelo Hung). Featuring a site-specific installation of metal flagpoles and ten virtual reality works filmed in New York, Havana, and Key West, the exhibition takes Havana’s Tribuna Antimperialista (Anti-Imperialist Tribune) as the jumping off point.
Tribuna Antimperialista was the site of a long-term propaganda battle in the late 1990s between the Cuban government and the United States Interests Section, Havana (USINT), which was situated in a building across the street from the square. In 2006, the United States installed a five-feet high ticker tape display across the top floor of the building which broadcast messages and quotes from Martin Luther King Jr. and other cultural figures such as the comedian George Burns, who once remarked: “How sad that all the people who would know how to run this country are driving taxis or cutting hair.” The Cuban government responded by erecting the monument Monte de las Banderas, or Wall of Flags, out of one hundred fifty flags to commemorate &#8220;victims of US aggression&#8221; and to partially block the ticker. At Pioneer Works, En El Monte evokes this square with an installation of flagpoles, onto which virtual reality headsets are attached.
Among the video works, El año del caballo (The Year of the Horse) most directly references the square, as it was filmed within Monte de las Banderas. The artists superimpose exotic dancers onto the monumental flagpoles to foreground both the disparity between the sexes and the extreme measures taken by women to make ends meet during the ongoing United States embargo. The embargo’s negative impact on Cuba’s sugar industry—once a crucial component of the island’s economy—is represented within other works, wherein quintessentially colorful cakes are seen being thrown and sunken into the waters of the United States and Cuba, and playfully destroyed in a food fight.
Piñeiro Bello, Capaz, and FABELOHUNG also address the quest for freedom and escape, in works such as Street Dog and Raft (balseros view). The former follows three dogs on a commute from New York to Havana—as if following an emigrant’s path backwards; the latter, shot in the waters between Havana and Key West, features a raft fleeing illegally during the height of the Cuban Rafters Crisis in 1994. Through these works, the trio explores post-revolutionary Cuban life in the shadow of isolationism, propaganda campaigns, and economic hardship, as well as the artists’ personal paths working within the complex relationship between Cuba and its closest imperial neighbor, the United States.
This exhibition is supported, in part, with funds from New York State Council on the Arts.
This exhibition is made possible with support from the Rockefeller Brothers Fund.
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Alejandro Piñeiro Bello

Jose Capaz

FABELOHUNG

Gabriel Florenz

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En El Monte is an immersive environment created by Alejandro Piñeiro Bello, Jose Capaz, and FABELOHUNG (Roberto Fabelo Hung). Featuring a site-specific installation of metal flagpoles and ten virtual reality works filmed in New York, Havana, and Key West, the exhibition takes Havana’s Tribuna Antimperialista (Anti-Imperialist Tribune) as the jumping off point.
Tribuna Antimperialista was the site of a long-term propaganda battle in the late 1990s between the Cuban government and the United States Interests Section, Havana (USINT), which was situated in a building across the street from the square. In 2006, the United States installed a five-feet high ticker tape display across the top floor of the building which broadcast messages and quotes from Martin Luther King Jr. and other cultural figures such as the comedian George Burns, who once remarked: “How sad that all the people who would know how to run this country are driving taxis or cutting hair.” The Cuban government responded by erecting the monument Monte de las Banderas, or Wall of Flags, out of one hundred fifty flags to commemorate &#8220;victims of US aggression&#8221; and to partially block the ticker. At Pioneer Works, En El Monte evokes this square with an installation of flagpoles, onto which virtual reality headsets are attached.
Among the video works, El año del caballo (The Year of the Horse) most directly references the square, as it was filmed within Monte de las Banderas. The artists superimpose exotic dancers onto the monumental flagpoles to foreground both the disparity between the sexes and the extreme measures taken by women to make ends meet during the ongoing United States embargo. The embargo’s negative impact on Cuba’s sugar industry—once a crucial component of the island’s economy—is represented within other works, wherein quintessentially colorful cakes are seen being thrown and sunken into the waters of the United States and Cuba, and playfully destroyed in a food fight.
Piñeiro Bello, Capaz, and FABELOHUNG also address the quest for freedom and escape, in works such as Street Dog and Raft (balseros view). The former follows three dogs on a commute from New York to Havana—as if following an emigrant’s path backwards; the latter, shot in the waters between Havana and Key West, features a raft fleeing illegally during the height of the Cuban Rafters Crisis in 1994. Through these works, the trio explores post-revolutionary Cuban life in the shadow of isolationism, propaganda campaigns, and economic hardship, as well as the artists’ personal paths working within the complex relationship between Cuba and its closest imperial neighbor, the United States.
This exhibition is supported, in part, with funds from New York State Council on the Arts.
This exhibition is made possible with support from the Rockefeller Brothers Fund.
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In recent years, the contours of a new contemporary art movement have begun to emerge, forged in reaction to the ideologies of Silicon Valley, the platforming and globalization of culture, and technologies of power like artificial intelligence, photorealistic computer-generated images, and virtual and augmented reality. These “Simulists” simultaneously embrace and subvert technology as their means of interrogation–expressing humanist, nonbinary, and decolonized futures. Curated by Kelani Nichole and featuring works by Morehshin Allahyari, LaTurbo Avedon, Meriem Bennani, Snow Yunxue Fu, Claudia Hart, Faith Holland, Lorna Mills, Eva Papamargariti, Tabita Rezaire, and Lu Yang, the exhibition explores identity, the body, and the politics of technology. Virtual space is inhabited with queer bodies and cultural identity is reclaimed through subversive uses of technology. The boundaries of technology and the body are blurred, as are the lines between author, image, and copy. Possible futures emerge as the layers of simulation that mediate contemporary culture are revealed.

 is curated by Kelani Nichole, Founder of TRANSFER Gallery.

In recent years, the contours of a new contemporary art movement have begun to emerge, forged in reaction to the ideologies of Silicon Valley, the platforming and globalization of culture, and technologies of power like artificial intelligence, photorealistic computer-generated images, and virtual and augmented reality. These “Simulists” simultaneously embrace and subvert technology as their means of interrogation–expressing humanist, nonbinary, and decolonized futures. Curated by Kelani Nichole and featuring works by Morehshin Allahyari, LaTurbo Avedon, Meriem Bennani, Snow Yunxue Fu, Claudia Hart, Faith Holland, Lorna Mills, Eva Papamargariti, Tabita Rezaire, and Lu Yang, the exhibition explores identity, the body, and the politics of technology. Virtual space is inhabited with queer bodies and cultural identity is reclaimed through subversive uses of technology. The boundaries of technology and the body are blurred, as are the lines between author, image, and copy. Possible futures emerge as the layers of simulation that mediate contemporary culture are revealed. 
Refiguring Binaries is curated by Kelani Nichole, Founder of TRANSFER Gallery.
This exhibition is supported, in part, with funds from New York State Council on the Arts.
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Unreal Engine Demo

Taeyoon Choi is an artist and a co-founder of School for Poetic Computation in New York City. His practice involves performance, electronics, paintings, and installations that form the basis for storytelling to explore the connection between race, gender, disability and environment. He was a fellow at Data and Society and Eyebeam Art and Technology Center. His projects were presented at the Whitney Museum of American Art and Los Angeles County Museum of Art. In 2019, Taeyoon is working on Distributed Web of Care and ongoing research with a critical perspective towards technology, ethics, justice and sensitivity to the concept of personhood.

Taeyoon Choi is an artist and a co-founder of School for Poetic Computation in New York City. His practice involves performance, electronics, paintings, and installations that form the basis for storytelling to explore the connection between race, gender, disability and environment. He was a fellow at Data and Society and Eyebeam Art and Technology Center. His projects were presented at the Whitney Museum of American Art and Los Angeles County Museum of Art. In 2019, Taeyoon is working on Distributed Web of Care and ongoing research with a critical perspective towards technology, ethics, justice and sensitivity to the concept of personhood.

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Sophie Kahn is an Australian digital artist based in Brooklyn. She earned a BA in Fine Art/History of Art at Goldsmiths College, University of London; a Graduate Certificate in Spatial Information Architecture from RMIT University, Melbourne; and an MFA in Art and Technology Studies at the School of the Art Institute of Chicago, where she was awarded a full tuition Trustee scholarship.

She has exhibited her artwork in New York, Los Angeles, London, Paris, Sydney, Tokyo, Osaka, Seoul and Beijing. Recent exhibitions include ‘Rodin and the Contemporary Figurative Tradition’ at the Frederik Meijer Sculpture Gardens; ‘New Romantics’ at Eyebeam Art and Technology Center, New York; and The Real Fake 2.0, Bronx Art Space, New York. Sophie has taught in the Department of Digital Arts at Pratt Institute as a Visiting Associate Professor, and at Columbia College, Chicago, as a visiting instructor.

Sophie Kahn is an Australian digital artist based in Brooklyn. She earned a BA in Fine Art/History of Art at Goldsmiths College, University of London; a Graduate Certificate in Spatial Information Architecture from RMIT University, Melbourne; and an MFA in Art and Technology Studies at the School of the Art Institute of Chicago, where she was awarded a full tuition Trustee scholarship.
She has exhibited her artwork in New York, Los Angeles, London, Paris, Sydney, Tokyo, Osaka, Seoul and Beijing. Recent exhibitions include ‘Rodin and the Contemporary Figurative Tradition’ at the Frederik Meijer Sculpture Gardens; ‘New Romantics’ at Eyebeam Art and Technology Center, New York; and The Real Fake 2.0, Bronx Art Space, New York. Sophie has taught in the Department of Digital Arts at Pratt Institute as a Visiting Associate Professor, and at Columbia College, Chicago, as a visiting instructor.

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 is an artist and composer based in Queens, NY. His practice focuses on (dis)embodiment in virtual spaces, procedural systems facilitated by idiosyncratic technology, and the recursive nature of digital production and consumption. He has presented or performed at a range of institutional and grassroots venues, including Panoply Performance Laboratory, New Museum, The Stone, Issue Project Room, and internationally at IRCAM (Paris) and Koma Elektronik (Berlin). Gantt releases music with Orange Milk and Oxtail Recordings, teaches extended media and experimental composition at Harvestworks, and worked as a studio assistant to electronics pioneer Morton Subotnick from 2016 – ’18.

 is a performance artist, dancer, choreographer, and arts-historical researcher from NYC, currently based in Berlin. As an artist and academic, Drury creates systems in which bodies and their function are conceived, deceived, received and perceived anew. Drury’s performances have been featured in various showings at venues around the world, including in Germany at CAT Cologne, Grüntaler9, and Theater Discounter; in Mexico at UDLAP; in New York City at the Queens Museum, Judson Church, Cunningham Studio, Brooklyn Arts Exchange, Gibney Dance, Danspace, Dance New Amsterdam, The Chocolate Factory, the Brooklyn International Performance Art Festival, Issue Project Room, and elsewhere.

Matthew D. Gantt is an artist and composer based in Queens, NY. His practice focuses on (dis)embodiment in virtual spaces, procedural systems facilitated by idiosyncratic technology, and the recursive nature of digital production and consumption. He has presented or performed at a range of institutional and grassroots venues, including Panoply Performance Laboratory, New Museum, The Stone, Issue Project Room, and internationally at IRCAM (Paris) and Koma Elektronik (Berlin). Gantt releases music with Orange Milk and Oxtail Recordings, teaches extended media and experimental composition at Harvestworks, and worked as a studio assistant to electronics pioneer Morton Subotnick from 2016 – &#8217;18.
Lindsey Drury is a performance artist, dancer, choreographer, and arts-historical researcher from NYC, currently based in Berlin. As an artist and academic, Drury creates systems in which bodies and their function are conceived, deceived, received and perceived anew. Drury’s performances have been featured in various showings at venues around the world, including in Germany at CAT Cologne, Grüntaler9, and Theater Discounter; in Mexico at UDLAP; in New York City at the Queens Museum, Judson Church, Cunningham Studio, Brooklyn Arts Exchange, Gibney Dance, Danspace, Dance New Amsterdam, The Chocolate Factory, the Brooklyn International Performance Art Festival, Issue Project Room, and elsewhere.

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Ziemba is the performing moniker of NYC-based musician, composer, perfumer, and cultural geographer René Kladzyk. Ziemba’s multisensory creations playfully interrogate space, perception, and the body. Since first making an incense for her debut album (using flowers from the yard of her childhood home), Ziemba has increasingly employed fragrance as a vehicle for transforming sonic spaces. Her new full length album, 

, functions as a series of portals into a feminist sci-fi adventure and parallel world. It will be released sequentially throughout the spring and summer of 2019, in the form of audio download, limited batch fragrance, video, tape and vinyl.

Ziemba is the performing moniker of NYC-based musician, composer, perfumer, and cultural geographer René Kladzyk. Ziemba’s multisensory creations playfully interrogate space, perception, and the body. Since first making an incense for her debut album (using flowers from the yard of her childhood home), Ziemba has increasingly employed fragrance as a vehicle for transforming sonic spaces. Her new full length album, ARDIS, functions as a series of portals into a feminist sci-fi adventure and parallel world. It will be released sequentially throughout the spring and summer of 2019, in the form of audio download, limited batch fragrance, video, tape and vinyl.

Ziemba Goes to Ardis

Lorena Barrera Enciso is a Mexican filmmaker, painter, and performance artist. In her work, she uses her experience as a body with many homes to explore the sense of longing that is inarticulate and without language. The objects and images created in these explorations become the result of frustrated attempts at intimacy. Barrera Enciso grew up in Mexico and Switzerland and immigrated to the US when she was 18. She obtained her BFA from the School of the Art Institute of Chicago. Barrera Enciso has exhibited her work at Chicago Filmmakers, Onion City Film Festival, and Gene Siskel Film Center, all in Chicago, IL, and Massachusetts College of Art and Design in Boston, MA.

Lorena Barrera Enciso is a Mexican filmmaker, painter, and performance artist. In her work, she uses her experience as a body with many homes to explore the sense of longing that is inarticulate and without language. The objects and images created in these explorations become the result of frustrated attempts at intimacy. Barrera Enciso grew up in Mexico and Switzerland and immigrated to the US when she was 18. She obtained her BFA from the School of the Art Institute of Chicago. Barrera Enciso has exhibited her work at Chicago Filmmakers, Onion City Film Festival, and Gene Siskel Film Center, all in Chicago, IL, and Massachusetts College of Art and Design in Boston, MA.

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Ezra Wube is a mixed media artist born in Ethiopia and based in Brooklyn, NY. His work references the notions of past and present, the constant changing of place, and the dialogical tensions between “here” and “there.” His work has been shown at the Gwangju Biennial, Gwangju, South Korea; Museum of the Moving Image, Queens, NY; the 13th Biennial de Lyon, Lyon, France; Dak’Art 2014 Biennale, Dakar, Senegal; the 18th International Festival of Contemporary Art SESC_Videobrasil, São Paulo, Brazil; and as part of the Times Square Arts Midnight Moment, New York, NY. His residencies and awards include LMCC Workspace Residency Program, the Drawing Center, Rema Hort Mann Foundation, and the Triangle Arts Association Residency, all in New York. Wube received his BFA from Massachusetts College of Art and an MFA from Hunter College.

Ezra Wube is a mixed media artist born in Ethiopia and based in Brooklyn, NY. His work references the notions of past and present, the constant changing of place, and the dialogical tensions between “here” and “there.” His work has been shown at the Gwangju Biennial, Gwangju, South Korea; Museum of the Moving Image, Queens, NY; the 13th Biennial de Lyon, Lyon, France; Dak’Art 2014 Biennale, Dakar, Senegal; the 18th International Festival of Contemporary Art SESC_Videobrasil, São Paulo, Brazil; and as part of the Times Square Arts Midnight Moment, New York, NY. His residencies and awards include LMCC Workspace Residency Program, the Drawing Center, Rema Hort Mann Foundation, and the Triangle Arts Association Residency, all in New York. Wube received his BFA from Massachusetts College of Art and an MFA from Hunter College.