For my upcoming solo exhibition at Catharine Clark Gallery, SF
FOR IMMEDIATE RELEASE
Catharine Clark Gallery, San Francisco, CA February 3, 2011
Solo Exhibition: Stephanie Syjuco: RAIDERS
Media Room: Kate Gilmore: three video works
June 4–July 16, 2011
Reception Saturday, June 4, 4–6pm
Catharine Clark Gallery, 150 Minna Street, San Francisco, CA 94105
Press Contact…. Rhiannon E. MacFadyen, email@example.com
(415) 399-1439, http://www.cclarkgallery.com
San Francisco, CA:
Catharine Clark Gallery announces RAIDERS, a solo exhibition of installations by Stephanie Syjuco. Three videos by Kate Gilmore are presented in the Media Room. The exhibition dates are June 4 through July 16, 2011. Syjuco will be present at the opening reception on Saturday, June 4, from 4 to 6pm.
Stephanie Syjuco has raided the collection of a prominent Asian arts and antiquities museum…figuratively, that is. For RAIDERS, her first solo exhibition at Catharine Clark Gallery, Syjuco has amassed a re-assembled collection of antique vessels by downloading publicly available images from their online database and printing them at the actual sizes listed on the site. Adhered to laser-cut wooden backings and gathered in groups, the prop- like objects at first glance appear to be a collection of valued cultural objects. Upon closer inspection, the vessels, now degraded and flattened, have been rendered ineffective, removed from their original usage, and then again from their institutional context. By using open online sources, Syjuco investigates how we participate in the construction of culture and how the accessibility of the internet can facilitate its redistribution. On a more personal level, Syjuco has chosen Asian vessels as a way of exploring her own heritage and how it may or may not be found in these representations. “For me there is a murkiness of where my identifications lie, since I am supposed to have a connection to the original objects’ histories.” Already rife with cultural and historic meaning, the vessels, jars, bowls, and vases—curvaceous items meant to contain things—also represent femininity and maternity, signifying gender roles, as well as ethnic ones. The works in RAIDERS delve into issues of acquisition, appropriation, and the accumulation of cultural capital through international “booty.” The title of the exhibition—a play both on the idea of piracy and a nod to the antiques-rescuing archeologist Indiana Jones—raises a question: who is the raider: the artist or the institution?
A hybrid of digital and analogue bootlegging, Syjuco’s “thievery” has played an important role in her process. In October 2009 she presented a parasitic art-counterfeiting event, COPYSTAND: An Autonomous Manufacturing Zone, for Frieze Projects, London, as well as contributed proxy sculptures for PS1/MoMA’s joint exhibition “1969.” For her project Everything Must Go (Grey Market), she created a double-layer of stolen goods by re-creating electronics using images of potentially stolen items from online vendor sites such as Ebay and craigslist. Other recent works have used the tactics of bootlegging, re-appropriation, and fictional fabrications to address issues of cultural biography, labor, and economic globalization. Working primarily in sculpture and installation, her projects leverage open-source systems, shareware logic, and flows of capital, creating frictions between high ideals and everyday materials.
Born in the Philippines, Stephanie Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. Her work has been shown nationally and internationally, and included in exhibitions at PS1, the Whitney Museum of American Art, The New Museum, SFMOMA, Yerba Buena Center for the Arts, The Contemporary Museum (Honolulu), The San Diego Museum of Contemporary Art, and the California Biennial at the Orange County Museum of Art, among others. She has led workshops for her ongoing global collaborative Counterfeit Crochet Project at art spaces in Istanbul, Beijing, and Manila, and in December 2008 her work was the subject of a solo exhibition at the Contemporary Arts Museum Houston. Her works have been praised in Artforum, Art in America, Flash Art, Art Practical, The San Francisco Chronicle, The New York Times, The Financial Times, The Wallstreet Journal, Craft Magazine, and on KQED’s Spark, among many others. For the last six months, Syjuco’s project Shawoshop was embedded within the San Francisco Museum of Modern Art’s fifth floor galleries—a project that included the works of 200 Bay Area artists and garnered significant critical acclaim, raising $100,000 for the artists who participated in the work.
About Catharine Clark Gallery
Established in 1991, Catharine Clark Gallery presents the work of contemporary artists. A wide range of media is represented in the gallery’s program with an emphasis on content-driven work that challenges both the traditional use of materials and formal aesthetics. Catharine Clark Gallery was the first San Francisco gallery to create a dedicated media room, presenting new genres and experimental video art with each changing exhibition. Exhibitions are hosted on a six-week schedule and generally feature one or two solo exhibitions in addition to media room installations. The gallery regularly participates in national and international art fairs.
Housed in a former 1920s farming equipment warehouse, redesigned by Los Angeles-based architectural designer Tim Campbell, Catharine Clark Gallery, San Francisco, is situated among numerous arts-related landmark buildings in San Francisco’s Yerba Buena Neighborhood; it is adjacent to the San Francisco Museum of Modern Art (SFMOMA), the Museum of the African Diaspora (MOAD), and near the Contemporary Jewish Museum, and the Museum of Craft and Folk Art, and is housed on the ground floor of the same historical building as SF Camerawork. The gallery is open Tuesday–Saturday, 11am–6pm. For more information, please visit http://www.cclarkgallery.com or email firstname.lastname@example.org.