Category Archives: exhibitions


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Noplace – PR


That Hideous Strength, 2020

cementitous terrazzo, zinc, brass, walnut, various veneers

30 ¾ x 48 inches (width, opened)

We begin with Noticing, Deli Gallery, Brooklyn


Anise Flower Panel, 2020

cementitious terrazzo, walnut

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



Firmament, 2018

cementitious terrazzo, oak

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


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.



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: 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


“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.




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.









Ferrocement Service, 2019


Ficus Interfaith




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Ficus Interfaith is a collaboration between Ryan Bush (b. 1990, Denver, CO) and Raphael Martinez Cohen (b. 1989, New York, NY). The artists, who live in New York City, met at the Rhode Island School of Design and have been working together since 2013. Ficus Interfaith were recent artists in residence at 2727 California Street (Berkeley, CA) and Shandaken: Storm King (New Windsor, NY). Their work has been exhibited at Kai Matsumiya (New York, NY), From the Desk of Lucy Bull, (Los Angeles, CA), Interstate Projects (Brooklyn, NY), Prairie (Chicago, IL) and they were participating artists for Clay Club 2018 at SculptureCenter (Queens, New York) and NOSCHOOL in Far Rockaway, NY and Berkeley, CA.


Rubus Armeniacus (Himalayan blackberry)

“Rubus Armeniacus is an exemplary political decoration, a nutritious ornament that clandestinely modifies infrastructural morphology. Here, affect invades the center. Rubus inverts and puns upon the proprietous subordination of affective expenditure to intelligence. Tracing a mortal palimpsest of potential surfaces in acutely compromised situations, Rubus shows us how to invent. This is the serious calling of style.”

– Office for Soft Architecture, Rubus Armeniacus: A Common Architectural Motif in the Temperate Mesophytic Region (Cabinet Magazine, Issue 6 Horticulture, Spring 2002)


Decoration is a poetic and political force. Though the Arts and Crafts movement advocated for decoration’s importance, the decorative arts succumbed to society’s shift towards machine production and division of labor. The result was the chastening of decorative arts into “design” – a cultural form that became inextricably linked with the growth of capitalism. Modernism’s disavowal of ornamentation engendered a negative relationship between Western architecture and anything that could be thought of as “decorative”. Recently, decoration has been somewhat rehabilitated as a concept in art and architecture, but it remains politically fraught.

To decorate one’s home is an artistic practice, but it is always situated in the economy and the pursuit of exchange value. Interior decorating displays one’s taste and style through the collection and curation of objects and furnishings. The formal focus of Modernist discourse often obscured hidden layers of social and economic determinants, but decoration always has some political content. Through consumer culture, home decoration posits the inhabitant within the field of social capital as a means to justify materialism. It is not a mere visual spectacle. It is also a mechanism that reinforces and disseminates the encoding of socio-political structures, and thus reifies capitalist ideologies. Decoration facilitates and reproduces privileges and class status and with that, exclusion.

Today, the domestic environment can be considered one of the primary sites where radical change is taking place in everyday life. We exist in a moment in which we are able to reassess the line between leisure and labor. Like many activities today, decorating is both pastime and work. It’s a hobby that makes home life more pleasurable, while at the same time adding to the value of one’s financial and social capital, bolstering the overall value of the home.

Rubus Armeniacus (Himalayan blackberry) presents works by nine artists and architects. The works offer ways to understand the rapid social, economic, and environmental shifts our increasingly neoliberal society is undergoing today, and attempts to unpack the implications of decoration as a carrier of both personal and political meaning.


Featuring works by Denise Scott Brown (b. 1931, Nkana, Zambia), Milano Chow (b. 1987, Los Angeles, CA), Samuel Farrier (b. 1989, Woodland, CA), Ficus Interfaith (Ryan Bush, b. 1990, Denver, CO and Raphael Martinez-Cohen, b. 1989, New York, NY), Nora Maité Nieves (b. 1980, San Juan, PR), Kayode Ojo (b. 1990, Cookeville, TN), Sean Raspet (b. 1981, Washington, DC), Libby Rothfeld (b. 1990, New Brunswick, NJ), and Allan Wexler (b. 1949, Bridgeport, CT)

Curated by Jessica Kwok


Jessica’s Apartment is open by appointment only To schedule an appointment: email or call +1 (347) 443-3549 For press inquiries: email

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Water Chesnut Frieze, 2019

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The Nourishment




a group show with


2.17.19 – 3.27.19

Sunday, February 17th

2 – 5pm

In a letter to the editor of the journal Nature dated February 12, 1923, one William Garnett touted the prescience of Edwin A. Abbott’s Flatland, a forgotten novella of the previous century. Written as a satire of Victorian society, it had achieved new relevance, per Garnett, in light of Einstein’s general relativity:

Some thirty or more years ago a little jeu d’esprit was written by Dr. Edwin Abbott entitled Flatland. At the time of its publication it did not attract as much attention as it deserved. Dr. Abbott pictures intelligent beings whose whole experience is confined to a plane, or other space of two dimensions, who have no faculties by which they can become conscious of anything outside that space and no means of moving off the surface on which they live. He then asks the reader, who has consciousness of the third dimension, to imagine a sphere descending upon the plane of Flatland and passing through it. How will the inhabitants regard this phenomenon? They will not see the approaching sphere and will have no conception of its solidity. They will only be conscious of the circle in which it cuts their plane. This circle, at first a point, will gradually increase in diameter, driving the inhabitants of Flatland outwards from its circumference, and this will go on until half the sphere has passed through the plane, when the circle will gradually contract to a point and then vanish, leaving the Flatlanders in undisturbed possession of their country (supposing the wound in the plane to have healed). Their experience will be that of a circular obstacle gradually expanding or growing, and then contracting, and they will attribute to growth in time what the external observer in three dimensions assigns to motion in the third dimension. If there is motion of our three-dimensional space relative to the fourth dimension, all the changes we experience and assign to the flow of time will be due simply to this movement, the whole of the future as well as the past always existing in the fourth dimension.

Anyway, Flatland is no longer forgotten, available today in dozens of editions, celebrated as a clever fable for multidimensional spacetime (in string theory there can be as many as twenty-six dimensions).

In the same issue of Nature there appeared an article on an expansive feat of engineering underway on the other side of the Atlantic, the Coney Island Public Beach and Boardwalk Improvement—the world’s first beach nourishment project. And it wasn’t just the beaches that needed nourishing; by replenishing and expanding the shoreline, New York’s urban planners wanted to encourage the tubercular immigrants crowding the city’s tenements to avail themselves of a health cure of sun and saltwater.

How do these two things relate to each other than having appeared in the same journal? Maybe that’s enough. But if we’ve learned anything from the unforeseeable afterlife of Flatland and the great changes that have occurred in our thinking about public health vis-vis beaches, it’s that you just never know. This, of course, is an important theme in movies like The Beach (2000) and Beaches (1988), in which the beach serves as a symbol of impermanence.

-Eli Diner

The Nourishment is a group show featuring new work from Anna Solal, Joanne Greenbaum and Nolan Simon/Dylan Spaysky with specific terrazzo supports framing the works by Ficus Interfaith (Raphael Cohen and Ryan Bush).

Anna Solal (b. 1988, Dreux) lives and works in Paris and Marseille. Solal received her Masters degree in Sculpture from Ecole Nationale Superieure de La Cambre (Brussels). Recent exhibitions include Et Al (NADA Miami), Horse&Pony (Berlin), Interstate Projects (New York), Levy Delval ( Brussels), Olso10 (Basel), Art-O- rama (Marseille), Room E 10 27, Museo Experimental El Eco (Mexico City), Rijksakademie (Amsterdam), The Ister (Brussels), Yaby (Madrid) and Damian and the Love Guru (Brussels). She is represented by New Galerie (Paris).

Ficus Interfaith is a collaboration between Ryan Bush (b. 1990, Denver, CO) and Raphael Martinez Cohen (b. 1989, New York, NY). As much a research initiative as studio practice, Ficus Interfaith is focused on their interactions with natural history and environment. Their work has been exhibited recently at Kai Matsumiya (New York, NY), Interstate Projects (Brooklyn, NY), and Prairie (Chicago, IL).

Joanne Greenbaum (b.1953, New York, NY) is an artist based in New York City and Greenport, NY. Recent exhibitions include Ben Maltz Gallery at Otis College of Art and Design (Los Angeles) and School of the Museum Fine Arts (Boston), both in 2018. She is represented by Richard Telles in Los Angeles and has an upcoming show this April.

Nolan Simon (b. 1980, Detroit, MI) lives and works in Detroit, MI. He earned his BFA from the College for Creative Studies, Detroit in 2005. Recent exhibitions include What Pipeline (Detroit), Lars Friedrich (Berlin), Green Gallery East (Milwaukee) and Night Club (Chicago). Simon has a solo show at 47 Canal (New York) opening this February.

Dylan Spaysky (b. 1981, Pontiac, MI) is a sculptor who lives and works in Hamtramck, MI. He earned his BFA from the College for Creative Studies, Detroit in 2007. He has had solo exhibitions at Popps Packing (Detroit), Clifton Benevento (New York), Cue Arts Foundation (New York) and Cleopatra’s (Brooklyn). Recent group exhibitions include Hannah Hoffman (Los Angeles), What Pipeline (Detroit), Museum of Contemporary Art (Cleveland), NGBK (Berlin); and Susanne Hilberry Gallery (Ferndale, MI).


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56 Mulock Avenue, Unit 1, Toronto, ON

M6N 3C4, Canada



Ficus Interfaith, Isabelle Frances McGuire, Michael Freeman Badour, Connor Crawford February 16 – March 9, 2019

Opening Reception: Saturday, February 16, 2019


Ficus Interfaith is a collaboration between Ryan Bush (b. 1990, Denver, CO) and Raphael Martinez Cohen (b. 1989, New York, NY). As much a research initiative as studio practice, they are focused on their interactions with natural history and environment. Their work has been exhibited at Kai Matsumiya (New York, NY), From the Desk of Lucy Bull, (Los Angeles, CA), Interstate Projects (New York, NY), and Prairie (Chicago, IL).

Isabelle Frances McGuire lives and works in Chicago, IL. Currently, they are an artist in residence at Latitude Chicago. They are the co-founder of the music group Chicago Art Club with artist Kira Scerbin. Recent exhibitions include “At the End of the Game You Will Be Forgotten” at Alyssa Davis Gallery (New York, NY), “Flat Earth Film Festival” (Seyðisfjörður, IS), and “I am a Cliché” at Prairie (Chicago, IL). Upcoming exhibitions include “Beach House” at Kings Leap (New York, NY).

Michael Freeman Badour (b. 1987) received a BFA from OCAD University in 2014. His work has been presented in solo, two person and group exhibitions at The Loon (Toronto, ON) , Little Sister Gallery (Toronto, ON), Roberta Pelan (Toronto, ON), Topless Rockaway (New York, NY), CK2 Gallery (New York, NY) and The National Gallery of Canada (Ottawa, ON) among others. From 2014 to 2016 Badour co-ran Carrier Arts, a nomadic exhibition platform which aimed to re-contextualize art with experimental programming in private, public and online spaces. He was a finalist in the 2017 RBC Canadian Painting Competition and was the recipient of the 2014 Drawing and Painting award from OCAD University.

Connor Crawford (b. 1992, Oliphant, ON) is a multimedia artist who lives and works in Toronto, ON. Recent solo, two person and group exhibitions include “Prophecy Club” at MX Gallery (New York, NY), “Act II: Joke Courtyard” at The Loon (Toronto, ON), “Acrophobia” at Main Street (Toronto, ON) and “Usher 3: Reloaded” at February (Austin, TX). Upcoming exhibitions include “Alternate Garden” at Sibling (Toronto, ON).



Modern Landscape, 2019
concrete, terrazzo, walnut frame
13 x 27 1/2  x 1 1/4 inches




Group Exhibition at Kai Matsumiya
Opening reception: Wednesday, February 6th, 6:30 – 9
February 6th – March 10th

Artists: Joan Jonas, Craig Kalpakjian, Andrew Ross, Victoria Haynes, Micaela Carolan, Joseph Kosuth (fake), Carol Szymanski, Ben Morgan Cleveland, Steffani Jemison, Rainer Ganahl, Ala Dehghan, Jason Hirata, Ficus Interfaith, Amy O’Neil, Elliott Jamal Robbins, Cassidy Toner, Maggie Lee, Raque Ford, Peter Fend, Jason Matthew Lee, Pedro Wirz, Greg Fadell.

What kinds of art would survive in the event of an environmental apocalypse? What new kinds of art would emerge? How would our very definition of “art” change if the figurative reset button were pressed on the world as we know it? Our current group exhibition, “Reset,” explores these questions, imagining the gallery as a post-apocalyptic, dystopian laboratory in which ostensibly permanent laws of nature, technology, and culture can be reconfigured.

The spirit of machines has been indispensable in rendering, modifying, and even destroying societal norms and laws, and art is certainly not immune to its consequences. The historical avant-garde was inextricable from the technological and industrial developments that defined their world, with the early French modernists referring to their own works as ‘machines’ suggesting both mechanistic dynamism and un-utilitarian creativity. The useless machine is essentially a reset button— built solely to turn itself off upon being turned on, thereby setting the process anew.

The late Marvin Minsky, once a researcher at Bell Labs Inc., devoted his career to two principal pursuits: making strides in the development of artificial intelligence and building “the most profoundly useless things” he could think of. These two projects may seem incongruous, but for Minsky they became intimately intertwined through one of his best-known inventions, the “useless machine.” For Minsky, the most advanced artificial intelligence would be capable of the most intimate, intelligent, private, and quintessentially human act, suicide. Thus, a machine that truly possessed the capacity for human intelligence would be a useless one: one whose only function is to switch itself off. Claude Shannon, a pioneer of information theory and cybernetics, was delighted by the concept of a useless machine and placed an assortment of them on his desk to entertain those who visited his office. But not everyone found the useless machine quite so amusing— Arthur C. Clarke, upon encountering an early prototype, called the device “unspeakably sinister.”

Clarke cannot be faulted for seeing something sinister in the useless machine’s built-in death drive, but a reset button leaves room for hope even in the most sinister of times: pressing reset opens up the possibility of starting all over again. The machines-as-art displayed in “Reset” carry with them a similar sense of possibility, shedding light on the laws that have traditionally governed the gallery and the ways that, once the reset button has been pressed, both the artist’s and the gallery’s relationship to these laws are subject to change.

Kai Matsumiya gives special thanks to Keenan Jay, Eva Silverman, Drew Healy, Liz Koury, and all of the artists in the show (Joan Jonas, Craig Kalpakjian, Andrew Ross, Victoria Haynes, Micaela Carolan, Joseph Kosuth (fake), Carol Szymanski, Ben Morgan Cleveland, Steffani Jemison, Rainer Ganahl, Ala Dehghan, Jason Hirata, Ficus Interfaith, Amy O’Neil, Elliott Jamal Robbins, Cassidy Toner, Maggie Lee, Raque Ford, Peter Fend, Jason Matthew Lee, Pedro Wirz, Greg Fadell).


Water Filter, 2017