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art & interviews ► ISSUE#ONE ◄ w w


fiesta natural Beatriz Lobo

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Robert Paul Kothe Creative Director & Founder

Lara Merington Writer


Photographer & Curator

Dania Lerman Writer

ELENA ANNA RIESER Illustration & Logo

Photographer & Curator


MICK NITE Art Editor


ŠtheCORNERmagazine 2013 All right reserved Adress: Robert Paul Kothe Geraer Ring 84 12689 Berlin Layout & Cover-Art: Robert Paul Kothe Logo: Elena Anna Rieser

All contributor(s) to theCORNER retain the reproduction rights to their own words and images. Reproductions of any kind are prohibited without the explicit permission from the magazine and relevant contributor.

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FOREWORD Welcome to theCORNER. We’re so glad you’re here. After several sleepless nights, endless revisions, and quite a bit of caffeine, we are delighted to present our very first issue. Our staff came together as group of individuals who find meaning in art, as creators and viewers. Like good missionaries of any faith, we want to share this gift of artistic appreciation, from which we have become so enlightened. While there is no official “theme” to this first issue, take it to represent a significant bulk of the artists who inspired us to start this magazine in the first place. We can only hope to pass this inspiration on to you, in return for your support and continual interest on which the success of theCORNER depends. Clearly, there is no way that all of our favorite artists could fit in a single magazine. Do check out our website,, to read our one-on-one interviews with artists including Sato Shintaro, Kimia Kline and Renaud Marion. We would like to thank all the artists and contributors for their enthusiasm, patience, and beautiful material. And, of course, we would like to thank you, Reader, from the bottom of our starving artist hearts. Enjoy!

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Portrait of a dead Duke Patrick Henne

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a o T e k c u f shit art

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all ers on

you who high

So, yeah, the art world is elitist, bourgeois, capitalist-pig-infested, yada yada yada. Duchamp’s urinal got the point across like, ninety years ago. No matter how novel your combination of stupid fucking found shit objects may be, it’s old fucking news. No one thinks you’re rebellious or cool. It’s no longer the twenties. Or fifties. Or sixties. Or seventies. Or eighties. Or nineties. So maybe if you had taken the time to like, sit your ass down and actually learn how to draw, you may have come to realize that mastering a craft is highly pleasurable and rewarding. And the more time you spend doing it, the better you get. And you know what? If you want to live off your work, thank fucking GOD for the curators, art collectors, and gallery owners who make it possible. Not only do they make it possible, but they APPRECIATE your work enough to pay you shit tons of money for it, and make it available to fellow art enthusiasts. Sure, maybe they all have trust funds. But, at the end of the day, who’s the one profiting off of them? And also, so like, you take some trash, place it on the ground, endow it with “intention”, and claim to have realized the avant-garde ideal of “merging art with life”? If anyone is going to see something in your work and grasp your hyper conceptual meta “philosophy”, do you really think it’s gonna be the everyday Joe who’s never taken a course on

contemporary art history? No, it’s gonna be the historians, critics, and curators you shit all over in the first place. Um…Lee Lozano, anyone? In case you haven’t noticed, art accessible to “daily life” is art that’s nice to fucking look at. The masses love skills. Really good paintings ROCK, and you don’t need a fucking Ph.D. to appreciate them. Wonder why hyperreal paintings are a giant fucking trend right now? Because all you have to do is LOOK AT THEM. I have a problem with all these middle-aged “contemporary” art historians who still claim to know what’s up. Like, yes, I will never doubt anything you say about Pollack or minimalism or Fluxus or whatever. But like… you’re not the ones trying to get your foot in the young and happening “scene” right now. You’re not the ones developing your aesthetic (oops, you think aesthetics are bullshit, my bad) and sense of self in response to an emerging culture with which you identify. It’s not that there are “no longer any art movements”…you’re just getting old. We all gotta face it eventually. And you’re not exempt by having tattoos, stylish haircuts, wayfarers, etc. And as for all you Postmodernists, here’s the issue: so you sell your soul to the all-too-easyto-argue theory that “nothing really exists” because everything is a “human construct”. I mean, our constructed universe exists, but only within the sphere of human subjectivity. In other words, anything considered to be a priori, i.e. facts that exist above and beyond human existence, is bullshit. So here’s why you suck: you put forth an argument in order to undermine the validity of logic. Um…that’s fucking stupid – you can’t use logic to disprove logic. Look, nihilism is dumb. I know it’s like, important to identify with Nietzsche at some point in your life, but the very basis of nihilism is grounded in a logical theorem itself: for all objects p there exists ¬ p (law of excluded middle, in case you were wondering, which you probably weren‘t). The reason you all get so goddamn loud and proud is because no matter what, you will always have the choice to negate whatever you fucking want. How about you try putting forth some positive content for once – not so easy now, is it? Finally, I’d like to send out a final fuck you

text Dania Lerman illustration Robert Paul Kothe

to all the assholes who bitch about Banksy, Swoon, Shepard Fairey, Vhils, etc. who have “sold out” by “going commercial” and “having exhibitions”. If you’re good enough at art to put it on the streets and have it noticed by the world, then good for fucking you! Why else should you need some other job to support yourself? So Vhils started making ads for Levi’s. What the fuck EVER. I turn a corner and am confronted by his highly skilled, reductive aesthetic, and it makes my fucking day. THAT, boys and girls, is the dream of the avant-garde. You don’t have to pay money and go to a museum to see the work of your favorite artist. You don’t even have to know enough about art to have a favorite artist in the first place. All you have to do is have eyes. And as for “breaking down the gallery walls”, anyone who wants to be a street artist actually can. All you need is a spray can, sack of balls, and a little inspiration. And, while you’re at it, learn to fucking draw.

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Christine Wu

top - One Little Two Little Indians left - Ghouls Night Out

I’ve been following Christine Wu for about a year now. I stumbled upon her work while skimming through some art blog or another and felt the force of her aesthetic from the thumbnails, alone. The tension in her work is immediate and intense; the expressiveness of the hypnotic double exposure and sketchy, unfinished features is no less striking than the highly skilled and careful realism through which her work is rendered. The content of her work is, at once, visual and concrete, but experiential and intangible. Her portraits are no less those of their human subjects than they are of a particular emotion or experience: “When I paint figures, I want to create a sort of breath, to capture a fleeting feeling, like the breathless moment of an orgasm, deep sigh or broken heart.” Her layered images and unfinished, rougharound-the-edges aesthetic sets her work apart from the representational completeness of photography – rather than pinning down the physical reality of human life, she chooses to “…intensify it.” Drawn to selfdiscovery, she often presents her subjects in stages of troubled introspection, moments highly personal but ultimately accessible, as we all anticipate the unknown and understand the force of its emotional complexity. Her interest in the supernatural comes to no surprise; her affinity for “layered, transparent things” alludes to the presence of ghosts and spirits. At the same time, however, a

piece like Ghouls Night Out (2010) certainly depicts the paranormal, while still grappling with themes of human identity, namely “…the many faucets of personality that everyone tends to have as a whole.” Christine likes to rise early and work in the sunlight: “There is something magical about the way indirect sunlight illuminates fabric drapes with a cool glow, not to mention the mythological connotations of sunlight dispelling evils.” She values routine and organization as “…starting a day well reflects how the rest of the day will play out, like a continuous flow of energy.” Christine received her BFA from the Art Center College of Design in Pasadena and is currently based in Los Angeles. Keep a look out for her – she’s got a solo show coming up in November at La Luz de Jesus Gallery and will be producing new work now and then when inspiration calls for it: “I like to keep my outlook open to invite any opportunities that may come my way, so I don‘t put too much emphasis making a long term schedule for the future, simply onwards and upwards.”

text by Dania Lerman

further information

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left - Ecstacy this page - Heroin Has Great Fucking


this double page - Azalea next page left - Tuberose next page right - Sea

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STEFFEN dieMilchbriefe


„…as soon as imagination finds a way of expression we feel that reality is nothing and imagination is everything.“ [1] The medium of photography is a fitting platform for the exploration of memory. Since its invention, the photographic medium has been a contestation of truth and evidence, and not just since that great powerful tool called Photoshop appeared in our lives. A photograph was once known as technical and factual proof of a moment captured, an eternal and tangible memory of an occurrence. Of course now we know this is much more subjective. Sarah Steffens series Die Michbriefe plays with ideas of collective memory. Without using any technical trickery, she also puts into question this contested media but through symbiotic manipulation rather than physical interference. Through twenty slightly eerie yet innocuous analogue photographs, Steffens takes her viewer on a journey into a mindscape of oppositions: fiction and reality, innocence versus maturity and past versus present. Preferring to show “not what is there, but what is not”, Steffens sets about making an album from these collective pasts; questioning how much we can “trust our memories”, when “what we experienced during our childhood and adolescence, gets overlaid with collective impressions”. [2] In a world increasingly saturated by images, a person on any given day may expect to see somewhere between two to five thousand images - an incomprehensible amount of information for the brain to process. As if by a process of osmosis (and one that advertising and marketing know full-well how to use to their advantage) images, which we might not even remember seeing, will often later pop into our subconscious. In a sort of amnesic haze, Steffens presents a series of tableaux or flashes of visions,


. Gaston Bachelard, On Poetic Imagination and Reverie, 1971 . John Berger, Ways of Seeing, 1972 [3] . Accessed 27 April, 2013 [2]

which might be her past, or another’s… We are made to question whether these scenarios actually once took place or is a layering of moments, experiences and infiltration of seen images and impressions from “movies we’ve watched, books we’ve read or stories we’ve been told”[2], which have filtered through the wonderful and curious thing that is the human mind, to make new these histories that are shown before us. The images are not so far from the truth… however, they are situations one would probably never take a happy snap of in daily life, but of course instead reserve it in that intricate and malleable space we call memory. In John Berger’s famed book, Ways of Seeing, he speaks about the human process of mystification. He recognises that as beings we are not solely objective, but that part of us includes consciousness. We may assume things about the past (objectively and according to fact), but they are often not in relation to our current state and therefore ‘lead to a mystification of the past’, not a clarification [3] . It is these thought processes that Steffens tries to pull apart. By playing with the idea of memory falsification she questions ideas of what we really “know” of our own personal histories. Bathed in soft light, Steffens images conjure up that nostalgic romanticism we often associate with things past, filtering out the bad in order to only remember the good. Yet the subjects of Steffens images are like a sad family album of celebrations on life and death and the intimate moments in between. A dead fox, new fawns in the snow… Often in the same frame a push and pull of emotions and contrasts take place. Intelligently highlighted by the use of textures and materials, an elderly lady (I am suspecting her grandmother) sits naked, bathed in soft morning light like a new born, a portrait of another elderly lady dressed in (dead animal) furs, a grown woman in bed caressing the wallpaper in a childlike state.

text Lara Merington

Although the images have a linear aesthetic, narrative is contained in each singular photograph and the viewer is not led obviously from one to the next like a chronological album. Sitting side by side in a neat long line on the wall, the very traditional curation leaves the sole focus on the photographs themselves. The smart addition (and there are 25 editions only) of a hardcover, clothbound book is an enjoyable accompaniment to the work. It is in in reality, possibly a much more obvious choice for presenting the work - and is a work in itself. Showing the series of images in its entirety, the book is interleaved with acid-free transparent paper giving it the tangible look and feel of an old photo album - full of memories you can touch. The title of the work Die Milchbriefe (Eng. The Milk-Letters) is symbiotic at least. Milk symbolises purity, innocence, and childhood. In letters we romanticise what is now, a somewhat archaic form of communication. Stories on paper imbued with physical touch, stained with history and manipulated by context. Something that starts out innocently and becomes a twisted whisper over time. Here in particular, and looking at the work I am led to make the association to nursery rhymes; sugary tunes that appropriately hide or evict what are often riddles stemming from darker histories. In fact there is a plethora of meaning one could dissect from this weighty title, as there is a world of stories you can uncover in each of Steffens commanding photographs. Sarah Steffens is a Photographer from Neuwied, Germany. She spent one year living in Tokyo as part of her first degree in Japanese studies and philosophy. Recently she completed studies at the Ostkreuz school of Photography under professor Ute Mahler. Die Milchbrief was her final graduation work and was first exhibited as part of the final graduates of the 2012 “echo’s” exhibition in the European Month of Photography.

further information

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RATTLING THE BONES 100cmx100cm 2013


MARC STANDING Click for the Interview

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THE WONDERMENT 100cmx100cm 2013

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PULSATING MAGIC 100cmx100cm 2013

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SEEKER 60cmx60cm 2013


THE ISLAND 60cmx60cm 2013

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El if Sanem Karakoc

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„Sometimes I go sneak out to be with it. Makes me feel good… better than the breakfast in bed.”


She grew up in the ‘shadows of Utopia’, believes Los Angeles is like an overweight woman and takes pleasure in sneaking out to be with her secret love… „Huge, crowded and full of many different cultures and faces“ is how Elif Sanem Karakoc describes Istanbul, Turkey - the city she grew up in. A place where a young photographer might expect to be content in finding material for her work for many years to come, this 22-year old photographer was also instilled with a thirst for travel. Growing up amongst “the unique cultural values of Turkey”, Karakoc recounts “endless days drinking tea on the city‘s little streets playing made-up games with friends” or watching the Turkish version of Sesame Street in which Big Bird was interchanged for a giant red version called ‘Little Bird’. Later on, she remembers spending hours watching American cult movies dubbed in Turkish. The Hollywoodisms with a Turkish bent that infiltrated her life did not act as a barrier for the American Culture that would eventually influence her work in later years though. This ‘magical’ America she was presented with seemed Utopian to her – so far away, and so unreal. Tree houses? Disney? The Ocean? “Blond beautiful girls with big breasts, surfers, big yellow school buses, and suburbs” is how Karakoc sums up the American Utopis – something that seemed in stark contrast compared to the reality of everyday life in Istanbul. Karacok’s recent series L.A. from Light, does not portray the plasticity and shininess that she was so illuminated by as a young girl however. When she finally visited L.A. for the first time she said “it didn‘t feel fake, it wasn‘t like a movie set, not all the girls were blonde and awesome looking. It was just another city

with more sunshine. And I fell in love, and I wanted to show that to people.” The L.A. series is perceptive yet maintains a certain distance. It is an outsider’s view of the city where she no longer acknowldeges what L.A. wanted to show her, but what she wanted to see in it. Through her lens she makes a new kind of utopia, one she can live and believe in. She finds the cracks, the dirt and the normality of this city that is, as she says “just like any other in the end.” When our editor Robert Kothe first saw this work he said it conjured up sentiments of the infamous series The Americans by Swiss Photographer Robert Frank. That’s a serious compliment for this 22-year-old who is just starting out. As serious as Elif is about a career in photography though, she has a witty sense of humour that also comes through in her photographs. “Los Angeles,” she says “has its own style. It‘s like a rich fat woman that used to be so poor but is not a snob or spoilt, [more of] a good fellow, like ‚The Unsinkable Molly Brown‘ from Titanic.” Karakoc has this ability to poetically and satirically articulate through her images - as she is also able to in words - the simplicities in life. Listing “palm trees, weird faces, flashlights and abandoned places” among her favourite things to shoot, she appreciates the beauty and intricacies of the unassuming, documenting and illuminating the mundanities of the everyday. There was a time that this photographer’s lyrical ability for representation might have found a different outlet for expression however. Originally, Elif started out at art school with drawing as her major, but it was the gift of a small 2-megapixel camera that replaced the pencil in her hand. “I received a little compact camera for my birthday and started to take some portraits of my friends at school,“ she says. „Then I realized I‘d forgotten to go to painting classes but was taking photos in our little garden instead.” From her back garden to the streets of L.A., Elif’s photographs have an intimate melancholy to them that could almost be

text Lara Merington

considered classical documentary, occasionally border on fashion and, are often quite cinematic. The latter could partly be attributed to the fact that Elif often shoots with film, giving the images that grainy feel. “I love the texture of film,” she says “it feels more real than digital to me.“ Elif swings between the two though, confirming that for her, photography is always more about the subject. She pays great attention to the fall of natural light, something she uses to her advantage to further evoke that filmic feel. In a singular image she is able to form strong narratives revealing just enough to pique our curiosity, but not enough to reveal its secrets, and she keeps the viewer guessing. Her work remains hard to categorise though, and they get much more personal than the L.A. series. Most evident in series such as Triangles or Wilbur wants to kill himself for example, Elif photographs a window into her world and others. Sometimes playful, sometimes dark and sinister, yet often without a real lineality you can grasp at, this is somewhat reflective of how she sees herself and lives her life: “Sometimes I wake up so happy and suddenly start to cry, or laugh so hard when watching an intense drama. I can dance at a funeral of someone I really care about. I guess it‘s just about living your own life without caring what others might think. Making someone laugh, saying something so deep it might change someone‘s life, or scaring someone with a cheesy Scream mask on the hallway for no reason. These are the things I want to do in my whole life. With or without photography.” Elif Sanem Karakoc is as eccentric as she is ambitious. Her next project: to capture „the most unique and meaningful photograph in the 21st century“. Failing that, she‘d (simply) like the opportunity to share her thoughts on Star Wars over coffee with Quentin Tarantino. Reccomendation? Keep tabs on this one. I for one am looking forward to what this quirky young photographer lets us in on next in the eccentric corners of her life and mind.

further information


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Combined fabric Jacket BERSHKA Culotte INTIMISSIMI Top AMERICAN APPAREAL Tighs TOPSHOP Chain Vintage Shirt and Skinny Jeans ZARA


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Photographer Styling Make-Up&Hair Make-Up assistant Photo assistant

Pedro Devalo Ma Isabel Elunku MarĂŒa Moreno Ainhoa Vegue Edu Gil


Malwina Garstka at Uno Models Santo Bruno at Heels Spain

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bomber jacket ZARA latex short MADD RUBB collar ZARA patch ASSAAD AWAD

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chain VINTAGE combined fabric jacket BERSHKA

latex skirt MAD RUBB top AMERICAN APPAREAL Collar ring ZARA Bomber jacket ZARA latex short MADD RUBB collar ZARA patch ASSAAD AWAD

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shirt H&M braces VINTAGE sunglasses ASSAAD AWAD

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Skull #5 30x20cm oil on canvas

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Memento Mori by Patrick Henne

Skulls 30x40cm oil on canvas

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Untitled 50x40cm oil on canvas

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Untitles #3 50x40cm oil on canvas


A study in

faces by Robert Paul Kothe Ma ke -Up & Ha i r by

Ju l i a B a rd e

Starring Eva Ma r i a a t M 4 Mo d e l s Ma x a t I n d e e d Mo d e l s

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Mine bigger than yours


Patrick Boussignac

top - The you Maid and the death,


Hitler and Stalin compare the size of their penises. A robot bangs a tattooed woman from behind. The grim reaper nibbles on the nipple of a young nude woman. Welcome to the world of Patrick Boussignac, where nothing seems real, but, in fact, couldn’t be closer to the truth. “I hate banality,” he says. “Nothing scares me more than blindness in front of a thing just because it’s been seen or heard or read too often.” The striking eccentricity of his work only illustrates the degree to which our own modern conventions are outrageous and bizarre. We live in an age in which we subordinate and conform our sexuality to the fixed standards of automata and digital structure. We romanticize strung out rock stars who never made it passed 27, and glorify their lifestyles of self-destructive hedonism. “I always want to wake up the public and tell them ‘You think you know this subject because you’ve seen it thousands of times, but look – here‘s another way to see it!’” Boussignac even takes the time to challenge our persona of Hitler that we take to be self-evident, i.e. Hitler as a one-dimensional concept of evil. Whether he is spilling out his soul to Sigmund Freud, or measuring the size of his penis against Stalin’s, Hitler is just another vulnerable lost soul in search of validation: “At the end, it was just a struggle for megalomania and millions died for that!” This humanized and, if you will, pathetic portrait

of Hitler forces us to question our tendency to blindly worship and glorify global leaders and social icons: “We idealize all these historical figures when in fact they are just humans going to the toilet like anyone else. If people really saw Stalin or Hitler or any other, and saw that they really were little mediocre men, would they accept to die for them?” Boussignac says reactions to his work have ranged from encouragement and praise to hate and disdain: “My paintings don’t let people be indifferent – that’s what I look for because we’re all dying with indifference.” His work is a shock to our system. It’s a wake up call, forcing us to identify and question the structures that shape our reality. Even if his work provokes anger and disagreement, as long as it does something to stall the pace with which we sleepwalk through life, Boussignac’s work is a work well done.

text by Dania Lerman

further information

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And even more artists on







tis ts

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Female #2 Pen & Ink


Alex K


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Two Torsos Pen & Ink

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Woman Disrobing Pen & Ink

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Female Pen & Ink

? Want to be part of the next ISSUE of the CORNER Magazine?

Submit* your art, ideas, writing, etc. to Next issue: Summer 2013

*read the submission guidlines

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Photo by Peter Dressel

Aliza Kelly Faragher


Aliza enters the restaurant we agreed upon in the Meatpacking District wearing a long red blazer over a black dress, black tights and heels. Co-curator and founder of The Outlet Gallery (Bushwick, Brooklyn), Aliza is early in her career, highly ambitious and bound for success. While sharing a pitcher of “Pear Slipper”, a cocktail with vodka, pear juice, cloves and nutmeg, we spend the next two hours discussing life post our shared alma mater, various romantic occurrences, and the importance of community in the art world, which concerns the bulk of this interview: Dania Lerman - So you are an artist as well as a curator. How does your practice inform your work in gallery?

and I had very similar trajectories and goals, and Justin encouraged me to reach out and introduce myself. Julian and I collaborated on our first show that summer (an exhibition entitled „Keep In Touch“), and by October 2012, after learning how well we worked together, decided to start a more formal partnership. Our next project was opening a gallery, and that endeavor soon became OUTLET Fine Art. We talked a lot about the outlet providing a space to build a community. How has this panned out? i.e. your relationship to the artists, they‘re relationship to each other, etc. One of the most exciting things about OUTLET is its ability to connect people through creative energy. We are committed

Aliza Kelly Faragher - My practice as an artist and as a curator are nearly identical. Whether I am creating art pieces or selecting them for an exhibition, I am interested in work that is driven by questions. The overarching concept is of highest importance to me, so in curating a show, I search for artists whose work offers a unique perspective on whatever issues are being explored.

Describe your partnership? My partner, Julian (A. Jimarez Howard), and I were introduced over a year ago through a mutual friend, Justin. Apparently, Julian

Bushwick is an incredibly hospitable environment for the arts, though it does have the tendency to be a bit insular. While OUTLET makes conscious efforts to engage our community through open and cross-platform programming, we like to curate exhibitions that extend the geographic bounds of Bushwick. We have shown artwork by a conceptual Chinese artist (Yuanpu Wang), an elaborate performance piece by German artist Lulu Obermayer, and most recently, a partnered exhibition entitled „THINGS I CAN‘T DENY“ by two Chicago-based creators. As we approach each exhibit through a series of questions, we try not to limit these answers to exclusively Bushwick voices, as we believe that international perspectives are sometimes critical in exploring the full scope of a concept. Any future plans? Any ideas for future exhibits?

Can you talk about the „feel“/aesthetic/ conceptual significance that you try to bring to outlet? Aka „what you‘re going for“ The idea of OUTLET is embedded within its name. OUTLET is an electrical space to plug into, a community hub for thoughts and intrigues, a center for affordable artworks, and a means of release for creative energy. We would like for OUTLET to positively contribute to the community, operating as a local venue where people from all backgrounds and demographics can feel inspired and supported. We reject the sterile, hyperpretentious gallery stereotype, and instead celebrate our approachability and emphasize our steadfast belief in having a great time.

So in Bushwick you essentially represent the hub of striving artists in our generation. Do you see any trends? Does this affect the sorts of exhibits you choose to curate?

to forming long-lasting relationships with the other Bushwick galleries, local and international artists, and the clients and friends who faithfully attend our openings and performances. We are also extremely appreciative of the local Bushwick community that predates the emerging art scene. We try to stay actively involved with our neighborhood, offering crayons and chalk for kids to use after school, and hosting events (such as a free food sculpting workshop) that engage local residents and business owners.

photo & text by Dania Lerman

I love challenging projects. Our upcoming exhibition, „Manifest Destiny,“ looks at the relationship between the 19th century imperialist vocabulary, and the popular language that surrounds Internet usage. As we navigate the digital landscape using Safari and Explorer browsers, we recall notions of Western expansion, entitlement, authority, and ownership. I am extremely excited about this show, as I think it adds an interesting, nuanced layer to new media / new aesthetic art that has saturated the contemporary art market. Beyond OUTLET, I welcome all opportunities that enable me to try something completely new. I strongly believe that any and all experiences are invaluable, so I‘m constantly brainstorming off-the-wall ideas about future endeavors. The weirder, the better.

further information

Upcoming Exhibition

©Bill Perlmutter, Gallery Hilaneh von Kories

Bill Perlmutter EUROPE IN THE FIFTIES Through a soldier‘s Lens

Gallery Hilaneh von Kories Gallerie Hilaneh von Kories Stresemannstraße 384a (im Hof) 22761 Hamburg

May 23rd until July 17th 2013


Thinkspace invades Philadelphia

May 11th until June 21st 2013

Think Space Gallery ©Craig ‚Skibs‘ Barker

Featuring including Liz Brizzi Seth Armstrong Craig ‚Skibs‘ Barker Hans Haveron Jeremy Hush Derek Gores Allison Sommers Catherine Brooks

Gallery 309 309 Cherry Street Philadelphia PA19106


©Kiya Kim

Featuring Markus Bradley Delano Dunn Nancy Hubbard Kiya Kim Anne Mourier Bethany Robertson Ian Trask

Recession Art Shows Curated by Risa Shoup & Maximilian Bode

Recession Art Shows 47 Bergen Street Brooklyn, New York 11201

May 3rd until May 24th 2013

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Thomas Wrede Kathastrophe und Idylle ‚Real Landscapes‘

©Thomas Wrede

Galerie WAGNER + PARTNER Galerie WAGNER + PARTNER Strausberger Platz 8 10243 Berlin

©Miles Aldridge, courtesy Steven Kasher Gallery

April 26th until June 1st 2013

Miles Aldridge I Only Want You to Love Me

Steven Kasher Gallery Steven Kasher Gallery 521 W. 23rd St., New York 10011

May 8th until June 8th 2013

Michel Comte

‚The Girl from Nagasaki‘ & more

Camera Work Camera Work Kantstraße 149 10623 Berlin

March 9th until June 1st 2013

©Michel Comte, Anthony Hopkins, 1991

Solo Exhibition

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