Ventiko, Phos Hilaron: From the Masses Rise the Saints
March 21 - April 2 2017
Phos Hilaron: From the Masses Rise the Saints is an art action of exaltation and togetherness countering the current socio-political landscape. With this exhibition, Ventiko invites us to celebrate the beauty of difference that stems from various genders, races, religions, geographies, and histories.
Ventiko has transformed Chinatown Soup into a sacred space through a three-part, site-specific installation that features a Chapel, a Reliquary, and an Altar. The walls of the Chapel are lined floor-to-ceiling with photographic murals of interlocking bodies: images of unidentified flesh upon flesh and limb upon limb, representing the masses. Here, visitors encounter 100 Saint Candles—custom art objects that, when burning, reveal the spirit of the Saint within. Continuing to the Reliquary, visitors find the Saints’ identifiers, or objects of special significance for each Saint. The Altar is the final destination, where light boxes measuring 12 feet by 7 feet illuminate a group portrait of selected Saints.
Through her lens, Ventiko canonized members of her community to serve as sources of inspiration and light. Over the course of one month, each Saint was photographed in an intimate, customized environment to enhance their unique messages. These portraits appear on votive candles that the Saints have purchased. This personal crowdsourcing model mirrors the spirit of collectivism that Ventiko encourages through the creation of this art action. Nothing is possible without togetherness. In addition, 100 artist books comprised of the portraits and accompanying stories written by the Saints are available for purchase. Together in this form, they cannot be separated or segregated.
Our identities are informed by our experiences and enhanced by those in our lives. Ventiko feels blessed and honored to have so many people illuminate her path with their Light of Joy. As a gesture of gratitude, this exhibition is for them.
Exhibition programming will be curated by participating Saints.
Ventiko is a critically acclaimed conceptual artist working in photography, performative experiences, and social practice. Her works have been exhibited and experienced internationally including at the Korean International Art Fair (Seoul, Korea), Sluice London, Busan (Seoul, Korea), Photo L.A., UNTLD BCN (Barcelona, SP), Select Art Fair (Miami and NYC), Satellite Art Fair (Miami), Coohaus (Chelsea, NY), Shirin Gallery (Chelsea, NY), Project for Empty Space (NJ), Casa Quien (Santo Domingo, DR), Performatorio (Puerto Plata, Cabarete, DR), M.O.M.A. (NY), TATE Modern (London, UK), Kalenic Market (Serbia, Belgrade), among others. She has been featured in Interview Magazine, Arte Fuse, Quiet Lunch, Korea Monthly Photo, Hyperallergic, Bedford and Bowery, Emergency Index, Cool Hunting, Gothamist, Artist News, Frieze Magazine, T Magazine, The Creator’s Project, The L Magazine, Artnet News, Beautiful Decay and Vogue Italia. As a community builder, Venitko has worked with 200+ artists creating, curating, and facilitating happenings, exhibitions, lectures, and residencies on their behalf through her Animamus Art Salon and Performance Anxiety series.
Yoshi Coryne, Man Proposes
March 1 2017 - March 9 2017
In 1864, Edwin Landseer painted, “Man Proposes, While God Disposes”, which depicted the fate of the doomed Northern Passage expedition. Nature triumphs, the ship is crushed in ice while two polar bears gnaw on the explorers’ remains. In winter 2014, a handwritten fortune was found pinned to Soup’s bathroom wall inscribed with the title of Landseer’s painitng. I was drawn to the work’s cautionary and fatalistic message, as well as its technical polish. Fortunately, it appears the gods have different intentions for Soup. In this show, I echo Landseer’s painting, where I amplified grim allegory with an attractive veneer.
I hope this assortment of work, inspired by the Classicist, and Northern Renaissance traditions (especially the artists Durer, Clouet, and Holbein), strikes you as dense and macabre. The Heroic Male, and its implicit homoerotic gaze, is saturated with a death-drive. I use clashing symbols, anachronisms, and the supernatural to disorient the men depicted herein. I am uncomfortable with an optimistic masculinity. I struggle with reconciling historical brutality and the ubiquity of death, with the manic cheer enshrined in the Gay male narrative. Sharing in that conversation, is my works’ rejection of an East-West binary, and I seek to expand connections hidden in plain sight, particularly in the decidedly White depictions of the Classic world.
I would like to thank Chinatown Soup for their constant support and their generosity in spirit for supporting me. I would also like to thank GoFundMe (and my supporters) for their generous donations, for which this show would not be possible. Also thanks to Ashley Thompson, John Mattia, Steve Pantas, Kerri Donnelly, Jocey Verick, and so many others for putting up with my bullshit.
Charlotte Greene, in ATMworld
February 18 2017 - February 25 2017
Born on September 20, 2014, in ATMworld is an ongoing collaborative text, performative collage, housewarming gift, curb finding, trash reincarnation, search engine dis-optimization, MS Paint on a public computer, pile of office paper stickers, free copies, free Kewpies, by whatever means possible, no context. Borrowing it's name from an ATM parts and equipment company based in Long Island City, the project visualizes the presence of non bank affiliated ATMs throughout New York City.
Charlotte Greene collaborated with programmer Mark Bosz to hack an ATM machine and code it to run as a game that invites players to question issues of global economics embedded in our screens. What is the relationship between a bit and a bit of truth? After Google searching the last male white rhino, who lives surrounded 24/7 by armed guards, and discovering the phenomenon of hunting virtual animals in virtual Africa as a bar game in Brooklyn, Greene turned her outrage and confusion about society’s silence on systemic violence and exploitation into an interactive search for meaning through art. In Greene’s words, "I am building these structures as a reaction to the end of the world!”
in ATMworld is an understandable reaction to a world with no conceivable solution. Please join us in celebrating Charlotte's first solo show and weeklong gift to society. The outlook is surprisingly hopeful.
Bailey Raha, Minaa Mohsin, Home Sewn
Febuary 7 2017 - February 14 2017
Olympia is proud to present Home Sewn, a dual-exhibition that explores the recent works ofquilter Bailey Raha and painter Minaa Mohsin. Both artists invoke the power of memory and tradition to inform their practices. Acknowledging the home as a place for artistry, these young women reimagine where creativity can manifest and how the new carries what came before.
Olympia is a curatorial collective established in 2015 to increase representation of gender-marginalized artists in the fine arts. Olympia has held eight exhibitions across the northeast and represents over 40 artists nationwide. Home Sewn is our downtown New York debut!
February 2 2017 - February 4 2017
A group of local artists come together in the spirit of creative camaraderie to share What Friends Are For, a three-day, multimedia exhibition that explores how friends influence each other’s everyday lives. Curated by local collective Artona, this experience will feature works by Paul M. Roura, Stephen Ostrowski, Mike Williams, Jacob Gottlieb, Andrew Straub, Rachel Trudden, Mike Elijah Rodriguez, and Zachary Bonime who use film, photography, and paint to make their art. Please join us for screenings, live music, and radio broadcasts this weekend.
A portion of this exhibition’s proceeds will be donated to the Dylan Rieder Foundation to fund cancer research.
Ashley Yang-Thompson, General Heartbreak
January 10 2017 - January 31 2017
Ashley asked that invitations to her show include questions to invitees. Here are yours:
Are you tired of typical art world bullshit?
Do you like a thong with the perfect snapback?
Are you balding?
Are you having trouble finding the perfect concealer?
Are you bored to the point of almost destroying your family?
Do you need to learn how to breathe?
Do you thrive in the darkness?
What if art was a casual experience?
What if art came in a Happy Meal®?
We’re calling it General Heartbreak 1993—a mind-explosion technique that speaks to our generation about the politics of emotion. This is not another female artist talking about being female. This is an artist showing us a way to be, and that begins with deconstructing “the gaze.” The late John Berger (#RIP) said, “Men look at women. Women watch themselves being looked at.” If he came to see Ashley’s show, we think he’d be pleased to realize that the future is women introducing telepathy to our species. One day, looking at art will be superseded by experiencing it.
If you’re still wondering about the standard artist-name-drop-for-comparative-context part of this exhibit statement, then please consider the following riff on how Ashley can be understood in relation to those who have inspired her:
a millennial Pipillotti Rist, a half-Chinese “Yayakusama,” a socratic Jenny Holzer, a feminine Basquiat. Or, in Ashley’s words: “I am the opposite of Richard Serra.”
In contrast to Serra’s labyrinth of steel walls that live prominently above ground and encourage solitary interaction, Ashley has constructed a mixed media woman cave underground that is designed to bring people together.
This show is not only an embrace of communicating with emotion but also an experiment with language and time. Here is a next wave alternative space, where feeling safe means taking it slow. Consider thinking about it as the Factory without needles, wonderland without fear, or the playground you imagined as a child. You’ll find five napping stations, a blemished runway, lingerie forest, dead disco ball, open envelope invitations, and bird calls that have been attracting a growing number of wanderers since late December.
By January 10, our upstairs gallery will be filled with protest signs, a “bad painting” series, a live window display, poetry, and music. Ashley used local objects and scavenged items from Materials for the Arts to produce all of these works. They’re available to take home for less than the price of a Happy Meal® because it’s 2017, and there are enough frauds in power.