Whether inspired by Queens hip-hop or Incan masonry and architecture, Socrates is honored to offer each artist fellow this platform to bring their vision to life. — Jess Wilcox, Curator and Director of Exhibitions
The Socrates Annual runs through March 24, 2019. Participating artists, whose diverse range of media include resin, rubber, wood, sound, metal, and textile, were selected by Socrates Director of Exhibitions, Jess Wilcox, and the Park’s 2018 Curatorial Advisors: Connie Choi, Associate Curator, Studio Museum in Harlem, and Alex Fialho, Programs Director, Visual AIDS.
The 2018 Socrates Annual include 15 artists. The annual began in summer 2018 and runs through March 24th. The artists are Leilah Babirye, Sherwin Banfield, Amy Brener, Lionel Cruet, Nathaniel Cummings-Lambert, Ronen Gamil, Jesse Harrod, Carlos Jiménez Cahua, Leander Mienardus Knust, Antone Konst, Joiri Minaya, Nicholas Missel, Virginia Lee Montgomery, Nancy Nowacek, Audrey Snyder & Joe Riley
STATE OF THE ARTS NYC PICKS
Lionel Cruet’s Reverb Space is a multi-sensory installation within a porous cube that visitors are invited to enter. Each wall of the cube produces sound, taking cues from musical instruments—tambourines, strings, pipes, guiros—while the sand covered floor provides texture and the translucent tarp ceiling colors the light within.
Home(-) and Garden is an installation by Ronen Gamil combining a series of aluminum can-clad miniature tents evocative of homeless encampments and surrounded by screening vegetation—a socially produced landscape. The work connects New York’s thriving luxury real-estate market with broader urban planning issues, and the active role that these factors play in generating and perpetuating chronic homelessness.
The solar panel atop Leander Mienardus Knust’s Re-material Wall powers an electroforming process that slowly transfers copper molecules from suspended pipes to individual wires each floating in a solution-filled jar. Over time these molecules accumulate and take unique forms as a physical trace of their carrier electricity while the steel rusts, wood warps, vines grow, and piping disappears.
A reimagination of the age-old trope of the transient salesperson, Antone Konst’s Free Peddler is a forum for the exchange of objects. With a shelf for a backpack, stocked by the artist with everyday necessities and bric-a-brac, the figure becomes a reflection of the surplus of tradable goods in contemporary society.
For Tropticon, Joiri Minaya appropriates a retail backyard greenhouse and cloaks it in one-way perforated vinyl printed with pixelated botanical images. The installation poses questions of visibility—from the outside the interior will be obscured, whereas from within the piece will function as a panopticon—while destabilizing the greenhouse’s function as colonial repository of tropical plants.
Virginia Lee Montgomery presents SWORD IN THE SPHINX, a resin-cast copy of a popular garden sculpture of Madame de Pompadour, a member of the 18th century French court, embedded with an artist-smithed sword. A companion video, CUT COPY SPHINX, viewable below expands on the piece’s themes of myth, reproduction, destruction, power, and ambiguity.