Magazine article Sculpture

Peekskill Project 6

Magazine article Sculpture

Peekskill Project 6

Article excerpt



A citywide public art festival organized by the Hudson Valley Center for Contemporary Art (HVCCA), "Peekskill Project," which launched in 2004, is devoted to bringing contemporary art out of the museum and into the community, specifically into spaces not normally used to present art. The 2015 iteration, "Peekskill Project 6," featured works by 57 U.S. and international artists selected by an international curatorial committee and presented in various locations around the city, including empty industrial buildings, storefronts, public parks, and private homes, as well as at HVCCA. Each artist spent a significant amount of time in Peekskill to explore its rich social, geographic, and cultural history.

Olafur Eliasson's mesmerizing Your Repetitive View, a shipping container lined with mirrors, offered a kaleidoscopic expanse of illusion. Looking in one window and out through another, viewers saw the surrounding expanse of sky and river, tree and human, framed and repeated many times over at a Hud - son River waterfront park.

Mark Andreas's Solar Finn (2015), a large kinetic sculpture made of cedar, ash, steel, and solar panels, was installed nearby. Moving in a continuum of different states, this elegant work reacted to weather and natural forces. Solar panels powered a pump, which cycled water between an inner and outer reservoir to be distributed throughout the sculpture. It wasn't clear if the cycled water had any environmental benefit, but Solar Finn provocatively raised the question.

Denmark's Molly Haslund placed 1000 Wooden Balls in various formations outside a factory site and moved them continuously for the duration of the project. In an additional, ongoing street performance, she carried a large-scale wooden compass around Peekskill and used it to make circular chalk patterns on the streets-an elegant choreography unfolding in public space.

Dustine Sherbine's The Red Record was a multi-site installation made up of oyster shells scattered around Peekskill-along the waterfront, under a factory stairwell, at a bookstore, and on the streets. The oysters, once native to the Hudson River, were arranged in piles that referenced oyster middens, the ancient shell discards of the Lenni Lenape, the native people of the Hudson River Valley. The work takes its name from the Walam Olum, or "Red Record," a historical narrative of the Lenape translated in the 1830s.

Polish artist Jan Baracz placed a heaping, but carefully arranged pile of assorted demonstration signs, banners, and flags against an exterior wall at HVCCA. The messages in On The Nature Of Dust Deposits, Minerva Owl Flight Patterns And Other Commonly Overlooked Events were dusty and obscured. With no decipherable words, one could only imagine why the signs were leaning there, seemingly abandoned years ago.

Italian artist Maria Rapicavoli's A Cielo Aperto #2 took its name from an idiomatic expression that can be translated as "open sky." In the video installation, a single still image of the American sky was projected into a complex web of strings transecting the gallery. …

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