Project Space presents site-specific exhibitions that are guided by information and experiences gathered while work is in progress at Headlands. Home to select Artists in Residence each season, as well as occasional group exhibitions by visiting artists and curators, Project Space is a place of exchange among working artists and visitors—a place where ideas are germinated, conversations are shared, and new work is made.
Visitors are invited in to witness and engage with the space throughout the various stages of making: as working studios undergoing transformation, and in their final state as complete exhibitions. Located on the top floor of Main Building 944, Project Space doors are open to the public whenever Headlands is; stop in to say hello Sunday–Thursday, 12–5PM.
This Fall in Project Space
In progress: September 18–October 27
Opening reception: Sunday, October 30, 3–5PM
(stay for dinner! Sunday Supper event starts at 5:30PM—learn more)
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.