Headlands Center for the Arts


Fall Project Space Exhibitions

Exhibition
September 18—November 17, 2016

Opening Reception

Sunday, October 30

Hours

3–5PM

Price

Free

Location

Project Space

Exhibitions by select Artists in Residence will be presented in Project Space each season. Visitors are invited in to witness and engage with the space throughout the exhibitions’ various stages of making: as working studios undergoing transformation, or in their final state as complete exhibitions. Project Space is free and open to the public Sunday–Thursday, 12–5PM.

Fall Project Space Exhibitions

In Progress: September 18–October 27
Opening Reception: October 30, 3–5PM
(stay for dinner! Sunday Supper event starts at 5:30PM—learn more)
On View: Through November 17

These Are Not Fall Colors: Chris Duncan

Oakland-based artist Chris Duncan will use the sun, time, architecture, landscape, and the history of the region to create These Are Not Fall Colors. Duncan, traditionally a painter, will employ a variety of techniques such as rubbings, field recordings & sound experiments, and long term sun exposure “paintings”, which will result in a collection of visual and sonic stories. Duncan’s “sun exposures” are created by placing colored fabrics in windows or wrapping them around objects; without the use of dye, emulsion, or any purposefully manipulated chemical process, imagery emerges on them through a combination of time and ultraviolet exposure. As homage to the power of the sun, the works also provide a haunting intimacy and a new perspective of the objects and spaces used in the process of their making. In keeping with his practice, Duncan will organize a series of performances/screenings.

Ganggang II: Alejandro Guzmán

Taking a physical approach to interaction, New York-based artist Alejandro Guzmán’s work is both playful and deeply confrontational, handmade and futuristic, philosophical and irreverent. The Ganggang II sculptures form a contemporary Stonehenge that is activated by a performance score, original musical composition, and invited performers. Together, the works embody a new form of cultural masquerade that places performer and object upon the same continuum, both mounted and imbued with spirit. Guzmán has invited multiple artists from his community to perform their own works within the framework of Ganggang II, and each adds their own aesthetic, emotional, and intellectual lens that coalesces in a unified response to endemic disorder and systemic failure. Recontextualized via ritual organization and performative gesture, Guzmán’s sculptures function as mobile sites of reflection, contemplation, and activation, moving both performances and viewers towards ecstatic catharsis and fellowship.