Living room light exchange bay area
Elisabeth nicula + beth stephens + sanaz mazinani
San francisco, Tuesday November 20th 7Pm
Elisabeth Nicula is an interdisciplinary artist whose work is in conversation with nature. Her websites, GIF essays, video installations, and works on paper depict the natural world via abstracted scales of space and time, poetics, and memory. She provides secondary sources for looking at the non-human world to awaken in viewers the desire to look first-hand. Elisabeth received a net art microgrant from Rhizome in support of her current project, dioramas.space, which is a platform for tending to her emotional landscape amidst the exigencies of climate disaster. She has made internet art at newhive.com; SFMOMA's Open Space and New York-based Electric Objects have commissioned her new media work; and Paper Magazine and Silica Magazine have published her essays. She also exhibits in embodied art spaces, most recently at Black & White Projects, R/SF Projects, and City Arts Gallery at CCSF, all in San Francisco, and at Pro Arts Gallery in Oakland.
Beth Stephens is an artist, activist, and Chair of the Art Department at UC Santa Cruz. Her artworks, performances, films and writings explore themes of queer embodied environmentalism. Stephens’ collaborative visual and performative work, made with her partner Annie Sprinkle, have been exhibited, performed and screened at art venues nationally and internationally, including at the Walker Art Museum, the MACBA in Barcelona, the Venice Biennale in Italy, and Documenta 14. Together Stephens and Sprinkle are creating a new field of research called SexEcology. Their award winning documentary film about coal mining, Goodbye Gauley Mountain: An Ecosexual Love Story screened in the Sheffield Film Festival, Q Docs, Reina Sophia Museumand is available from Kino Lorber. It is also streaming on YouTube and iTunes. This was their first film collaboration and the first feature length queer environmental documentary. Their second film, Water Makes Us Wet: an Ecosexual Adventure premiered at documenta 14.
Sanaz Mazinani, based in San Francisco and Toronto, explores how repetition and pattern make information legible and transform seeing into knowing, with the possiblity of altering people’s worldview. Working across the disciplines of photography, social sculpture, and large-scale multimedia installations, Mazinani creates informational objects that invite a rethinking of how we see, suspending the viewer between observation and knowledge. Informed by the visual rhetoric and confounding presence of contemporary media circulation, her multidisciplinary practice aims to politicize the proliferation and distribution of images and introduce critical reflection. Mazinani’s works study forms of state control and consider how revisualizing embedded power structures might interrupt them. In aestheticizing informational systems, the artist attempts to contribute to a larger understanding of how conflicting realities are constructed and imagine the communicative possibilities of visual language.