Author Archives: ficusinterfaith

We begin with Noticing, Deli Gallery, Brooklyn

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Anise Flower Panel, 2020

cementitious terrazzo, walnut

24 ½ × 9 ½ × 1 ¼ inches (62.23 × 24.13 × 3.18 cm)

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Firmament, 2018

cementitious terrazzo, oak

35 × 35 × 1 ¼ inches (88.90 × 88.90 × 3.18 cm)

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Upstate Food List

https://www.google.com/maps/d/u/0/viewer?mid=1-BNh-9kUoIVu5txT4F31P9vS1xc&ie=UTF8&hl=en&source=embed&msa=0&ll=41.81059111966342%2C-74.1646244362617&spn=0.701892%2C1.39389&z=12&fbclid=IwAR1LbQYh_C8Qfs48ULBk5MBFU4CKWurHUutmLbuS95VAOTd24XNP8l8Rzpw

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Snakes, Radishes, Lemons, 2019

Tim & Bella Floor

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Mosaic Grilled Cheese

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https://www.instagram.com/mosaicgrilledcheese/

 

https://www.instagram.com/explore/tags/mosaicgrilledcheese/

 

Why People Walked Differently in Medieval Times

https://www.mentalfloss.com/article/505105/why-people-walked-differently-medieval-times

USNS Comfort arrives in NYC

 

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SculptureCenter///In Practice: Total Disbelief

In Practice: Total Disbelief considers artistic engagements with dimensions of doubt as they contribute to the formation of social life. Across media, the works in the exhibition engage formal tools that uphold belief and produce what we consider to be true – narrative and cinematic tropes, photographic technologies, empiricism, and others – and use them to make any number of other truth claims. A position of disbelief may see these aesthetic conventions as valid, but still delimited by external forces, as if they are suggesting something, but not the right thing, or not saying all they can or could say.

While characterized on one hand by the clean slate of a baseline lack of faith, an active engagement with disbelief also means taking stock of astonishment, navigating defense mechanisms, and pitting skepticism against a real desire to be convinced and to know. In Practice: Total Disbelief posits that artworks are the products and by-products of these dynamics, appearing as objects, images, and activities that sustain uncertainty, not in the least about the capacities of the art object itself.

The exhibition features newly commissioned works by: Qais AssaliAndrew CannonJesse ChunHadi FallahpishehFicus InterfaithEmilie Louise GossiauxLaurie KangDevin Kenny and Andrea SolstadK.R.M. Mooneysidony o’nealMariana SilvaJordan Strafer, and Andrew Norman Wilson and is curated by Kyle Dancewicz, SculptureCenter’s Director of Exhibitions and Programs.

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Ficus Interfaith, The 59th Street Bridge Song, 2020,. Cementitious terrazzo, brass, zinc, walnut. 42 x 66.75 x 1.25 inches (106.7 x 169.5 x 1.25 cm). Courtesy the artists. Photo: Kyle Knodell

Banquet

Banquet: Marcello Dolce, Sessa Englund, Sophie Friedman-Pappas, Audrey Gair, Chris Hanke, Ficus Interfaith, Rindon Johnson, Isabelle Frances McGuire, Sam Shoemaker, Julia Thompson

December 14, 2019 – January 18, 2020

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“I propose a feast for the eyes, sumptuous, multiplictious, and occasionally disgusting. This is a banquet of works of art that include milk, rice, bread, vegetables, piles of fat, carpets of pollen, sheets of wax or chocolate, shit, urine, blood, and assorted rots. Not all dishes lend themselves to this table; only those servings that are both excessive and incessantly replenished, for this profusion of substance asserts the commodiousness of contemporary appetites, both for pleasure and transgression.”
– Buzz Spector, “A Profusion of Substance,” Artforum (October, 1989).

Banquet brings together ten artists whose work references, investigates, or employs organic substances – such as food, bodily fluids, living/non-living organisms, and raw earth – as material. The digestive cycle is on full display. Works by Chris Hanke and Julia Thompson incorporate powdered sweeteners and juices while Sophie Friedman-Pappas’ and Audrey Gair’s Untitled (Toilet Seat) and Marcello Dolce’s stole(n)cover give us a view of the other end of things. Elsewhere, a raw earthiness is evident. Sessa Englund’s works evoke abstracted organic forms and Rindon Johnson’s rawhide strips are dipped in water and dirt sourced just outside the gallery. Within Sam Shoemaker’s Untitled work lies something very much alive – a fungi of the Gonaderma Lucidum variety. A living, breathing organism that will grow over the course of the exhibition. Ficus Interfaith grinds down waste and loose rock material to develop their terrazzo pieces and, in doing so, calls into question what is natural and what is not. Isabelle Frances McGuire’s circular Ring can be seen as a metaphor for the exhibition as a whole. The enclosed loop of dead flies speaks to our multiple cycles of life and the richness of pleasure and disgust we encounter throughout them.

 

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Ficus Interfaith. The Woodcutter, 2019. Cementitious terrazzo, various rocks, walnut, domestic veneers. 24 x 20 x 2.75 inches closed, 24 x 40 x 1.375 inches open.