Alisa Baremboym Work | Artist Statement & CV | Return to Artist List
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Artist Statement
Food is freed from its objecthood by becoming an image.
Fabric is freed from the armature of the body by becoming a painting.
Food loses its original corporeality and gains a new one on the surface of fabric.
Transferring and mutating, they coexist as a ghostly presence of the body assimilating into a hybrid identity.
I combine the incongruous visual components of food and the material components of clothing to redefine a type of consumption, creating a suspension of meaning, during which a pickling can take place.
The pattern and repetition of such commonplace nourishments as lox, cured meats, pickles, etc. creates a tampered realism causing strain between a formal and cultural logic. From this pattern emerges a way to collage a transitional form of identity through the building of layers. Works focusing on the body vacillate between the exploration of internal consumption and the exterior consumption of this constructed identity.
Applying the gesture of wiping and cleaning a canvas to produce abstractions is another way the domestic creeps into my studio processes. As the abrasive granular agent is wiped into the canvas, cleaning becomes a form of mark making. The surfaces of these works become imbued beyond illusion with a kind of useful uselessness.
Using this damaged domestic logic in the transformation of the everyday and displacing these domestic actions by taking away their utility renders their transitory nature more permanent.
Food and cloth are both necessities that easily shift to become indulgences of taste and as such they negotiate our daily affinities as well as our cultural sensibilities.
Food is freed from its objecthood by becoming an image.
Fabric is freed from the armature of the body by becoming a painting.
Food loses its original corporeality and gains a new one on the surface of fabric.
Transferring and mutating, they coexist as a ghostly presence of the body assimilating into a hybrid identity.
I combine the incongruous visual components of food and the material components of clothing to redefine a type of consumption, creating a suspension of meaning, during which a pickling can take place.
The pattern and repetition of such commonplace nourishments as lox, cured meats, pickles, etc. creates a tampered realism causing strain between a formal and cultural logic. From this pattern emerges a way to collage a transitional form of identity through the building of layers. Works focusing on the body vacillate between the exploration of internal consumption and the exterior consumption of this constructed identity.
Applying the gesture of wiping and cleaning a canvas to produce abstractions is another way the domestic creeps into my studio processes. As the abrasive granular agent is wiped into the canvas, cleaning becomes a form of mark making. The surfaces of these works become imbued beyond illusion with a kind of useful uselessness.
Using this damaged domestic logic in the transformation of the everyday and displacing these domestic actions by taking away their utility renders their transitory nature more permanent.
Food and cloth are both necessities that easily shift to become indulgences of taste and as such they negotiate our daily affinities as well as our cultural sensibilities.
CV
CV
Alisa Baremboym
Lives and works in New York
Born in 1982 Moscow, Russia
EDUCATION
2010 MFA Bard College, Annandale-on-Hudson, NY
2004 BFA School Of Visual Arts, NY, NY
2003 Goldsmiths College, University of London, UK
EXHIBITIONS
2011
(Upcoming) Foot to Foot, curated by Margaret Lee, Regina Gallery, London, UK
(Upcoming) Four person show, Toomer Labzda, NY
(Upcoming) Two person show with Skuta Helgason, curated by Rose Marcus, SHOW ROOM, New York, NY
White Columns Benefit Exhibition, White Columns, NY
How Do You Do, organized by Margaret Lee, Noma Gallery, San Francisco, CA
2010
179 Canal/Anyways, curated by Margaret Lee, White Columns, NY
Real Nonfiction, curated by Baseera Khan and Jon Lutz, BRIC Rotunda Gallery, NY
36 Dramatic Situations, LOUIS V.E.S.P., NY
Alisa Baremboym/Thomas Torres Cordova Graham Anderson/Caitlin Keogh, 179 Canal, NY
Guilty Feet, curated by Tova Carlin and Colby Bird, 179 Canal, NY
2009
neverANDagain curated by Elissa Levy, I.S.C.P., NY
Why + Wherefore, web exhibition curated by Josh Klein
MFA Thesis Exhibition, Bard College, Annandale-on-Hudson, NY
Candygrammar, curated by Michael Wilson, 999 Metropolitan Ave, Brooklyn, NY
Nobodies New York, curated by Josh Kline and Margaret Lee at “The Month of May” 179 Canal St, NY
2008
I Moscow International Biennale for Young Art, Moscow Museum of Contemporary Art, Moscow, Russia
Poster Project: Nine Things, curated by Devon Costello; Nine Things, Frankfurt, Germany
Cube Passerby 2008, curated by Michael Caputo, Gavin Brown Enterprises, Passerby Gallery, NY
2007
Poster Project, Participant Inc., NY
2006
Poster Project, curated by Devon Costello and Ilya Lipkin, Kantor/Feuer Window Space, NY
Two Friends and So On, curated by Jonathan Horowitz, Andrew Kreps Gallery, NY
2004
Poets of Miniature, curated by Clifford Borress, Office Ops, Brooklyn, NY
PROJECTS
2010
Collaboration with Margaret Lee for NADA, Miami Beach 2010
2009
Circular File Channel curated by Josh Klein, PERFORMA, NY
Con Verse Sensations, organized by Katerina Llanes, Taxter & Spengemann, NY
2007
Poster Project - Launch organized by Devon Costello, Printed Matter Bookstore, NY
2006
Recipe Book for Downtown, curated by Adam Kleinman, Lower Manhattan Cultural Council, NY
BIBLIOGRAPHY
Wallin, Yasha., “Turning Profit: 179 Canal Opens as 47 Canal,” Art-in-America, April 8, 2011
Carlin, T.J., “Graham Anderson/Caitlin Keogh and Alisa Baremboym/Thomas Torres Cordova,” 179
Canal, NY, ArtReview, Issue 42, May 2010
Popova, Julia, http://www.expert.ru/printissues/expert/2008/28/soberi_idealnoe_iskusstvo/ 2008
Velasco, David, “Team Player,” Artforum.com, January 5, 2007
Birnbaum, Molly, Art Talk: Urban Flavor, Artnews, December 2006, p. 38
Schmerler, Sarah, Two Friends and So On, Time Out New York, July 20-26, 2006, p. 65
Saltz, Jerry, “Our Crowds: A two-headed butterfly flapping its wings,” The Village Voice, July 12-18, 2006, p. 54
CV
Alisa Baremboym
Lives and works in New York
Born in 1982 Moscow, Russia
EDUCATION
2010 MFA Bard College, Annandale-on-Hudson, NY
2004 BFA School Of Visual Arts, NY, NY
2003 Goldsmiths College, University of London, UK
EXHIBITIONS
2011
(Upcoming) Foot to Foot, curated by Margaret Lee, Regina Gallery, London, UK
(Upcoming) Four person show, Toomer Labzda, NY
(Upcoming) Two person show with Skuta Helgason, curated by Rose Marcus, SHOW ROOM, New York, NY
White Columns Benefit Exhibition, White Columns, NY
How Do You Do, organized by Margaret Lee, Noma Gallery, San Francisco, CA
2010
179 Canal/Anyways, curated by Margaret Lee, White Columns, NY
Real Nonfiction, curated by Baseera Khan and Jon Lutz, BRIC Rotunda Gallery, NY
36 Dramatic Situations, LOUIS V.E.S.P., NY
Alisa Baremboym/Thomas Torres Cordova Graham Anderson/Caitlin Keogh, 179 Canal, NY
Guilty Feet, curated by Tova Carlin and Colby Bird, 179 Canal, NY
2009
neverANDagain curated by Elissa Levy, I.S.C.P., NY
Why + Wherefore, web exhibition curated by Josh Klein
MFA Thesis Exhibition, Bard College, Annandale-on-Hudson, NY
Candygrammar, curated by Michael Wilson, 999 Metropolitan Ave, Brooklyn, NY
Nobodies New York, curated by Josh Kline and Margaret Lee at “The Month of May” 179 Canal St, NY
2008
I Moscow International Biennale for Young Art, Moscow Museum of Contemporary Art, Moscow, Russia
Poster Project: Nine Things, curated by Devon Costello; Nine Things, Frankfurt, Germany
Cube Passerby 2008, curated by Michael Caputo, Gavin Brown Enterprises, Passerby Gallery, NY
2007
Poster Project, Participant Inc., NY
2006
Poster Project, curated by Devon Costello and Ilya Lipkin, Kantor/Feuer Window Space, NY
Two Friends and So On, curated by Jonathan Horowitz, Andrew Kreps Gallery, NY
2004
Poets of Miniature, curated by Clifford Borress, Office Ops, Brooklyn, NY
PROJECTS
2010
Collaboration with Margaret Lee for NADA, Miami Beach 2010
2009
Circular File Channel curated by Josh Klein, PERFORMA, NY
Con Verse Sensations, organized by Katerina Llanes, Taxter & Spengemann, NY
2007
Poster Project - Launch organized by Devon Costello, Printed Matter Bookstore, NY
2006
Recipe Book for Downtown, curated by Adam Kleinman, Lower Manhattan Cultural Council, NY
BIBLIOGRAPHY
Wallin, Yasha., “Turning Profit: 179 Canal Opens as 47 Canal,” Art-in-America, April 8, 2011
Carlin, T.J., “Graham Anderson/Caitlin Keogh and Alisa Baremboym/Thomas Torres Cordova,” 179
Canal, NY, ArtReview, Issue 42, May 2010
Popova, Julia, http://www.expert.ru/printissues/expert/2008/28/soberi_idealnoe_iskusstvo/ 2008
Velasco, David, “Team Player,” Artforum.com, January 5, 2007
Birnbaum, Molly, Art Talk: Urban Flavor, Artnews, December 2006, p. 38
Schmerler, Sarah, Two Friends and So On, Time Out New York, July 20-26, 2006, p. 65
Saltz, Jerry, “Our Crowds: A two-headed butterfly flapping its wings,” The Village Voice, July 12-18, 2006, p. 54
Seasoned, 2011 39 x 32 inches
Archival pigment inks on silk
Silodka, 2010 67 x 43.5 inches
Archival fiber reactive dyes on silk, muslin, metal frame
Lox, 201072 x 58 inches
Archival pigment dyes on cotton twill, painted wood frame
Lox (Detail)
Untitled, 201140 x 30 inches
Micaceous iron oxide on primed canvas
Seasoned 3, 2011 39 x 29 inches
Archival pigment inks on silk
Still Life 1, 201140 x 34 inches
Archival pigment inks on silk
Platinum, 201139 x 32 inches
Archival pigment inks on silk
Edition for Invisible Exports’ Artist of the Month ClubCured, 2011
24 x 18 inches
Archival inks on silk, nickel plated magnets
Edition of 50 + 10 AP
Still Life 5, 201140 x 28 inches
Archival pigment inks on silk
Untitled, 201140 x 30 inches
Micaceous iron oxide on primed canvas
Still Life 4, 201140 x 30 inches
Archival pigment inks on silk
Still Life 3, 201140 x 28 inches
Archival pigment inks on silk
Kasha, 201070 x 56 inches
Archival pigment dyes on cotton twill
Buckwheat Chuchela (scarecrow), 200930 x 24 inches
Buckwheat and acrylic on canvas
“Neither for a Village Nor for a City.” Installation view: Collages on canvas, hand painted backdrop, photographs, buckwheat painting and screensaver projection, all 2009
“Neither for a Village Nor for a City.” Pattern screensaver projection (dimensions variable), projection screen, metal pipes2009
Installation view of 4 person show at 179 CanalWood panels covered with fabric, digital pigment prints, plexiglass, custom hardware, wood frames; Two Waiting Figures (After Chantal Akerman’s D’est), Foam core, digital prints. All 2010 *please note glass work is by another artist.
Chuchelas 1 + 2, 201067 x 49 inches each
Archival pigment dyes on cotton twill, digital pigment prints, plexiglass, custom hardware, wood frames
Discount Emporium, 2010Archival pigment dyes on cotton twill (pickle pattern), international foods, vitrine