The international artists'collective TransCultural Exchange is pleased to announce its new exhibition "Nomads Forever" at the TransHudson Gallery, New York, from July 27 - August 26, 2000. Inspired by their recent success exhibiting in Seoul, Korea and at the London Biennale, England, the group affirms by the title "Nomads Forever" its commitment to spanning the globe to show works by artists of varying nationalities in different countries. The title also refers to the group's driving ethos of what cultural theorists Deleuze and Guattari have described as "nomadology", or creative activity that resists being territorialized.

TransCultural Exchange originated in 1989 as a group of American artists in Chicago setting up exhibitions with Austrians artists in Vienna. The idea of the initial enterprise was revived by Mary Sherman, one of the group's founding members, with the assistance of curator Denise McColgan, in the show "No Boundaries" at the TransHudson Gallery in 1998. "No boundaries" displayed works that overcame the traditional limits of various media in analogy to the group's mission of overcoming cultural boundaries by staging exhibitions of a global roster of artists.

"Nomads Forever" is therefore a homecoming to New York and to TransHudson Gallery after two years of activity. Again, artists of differing nationalities are represented. While the new works display vivid differences in conception and form, they share a common tendency to connect or bind together separate parts to make a whole. This characteristic of the work, manifest uniquely in each piece, serves as a metaphor for the group's collaborative nature and its wish to bring disparate ideas together through art.

For example, Mary Sherman's "Urban Sky" consists of nine blocks of wood hinged together, painted blue on one side, and gray on the other, that reverse mechanically to correspond to the day or night heavens. ("Urban Sky" also simulates thunder if you move close to it!) Theodore Cantrell offers a painted canvas, draped on the wall without stretchers, that emotively heaves and bunches itself into hanging form, disclosing interior tears closed by raw stitching. Victoria Hanks presents oil-stick colored drawings, cut into amorphous shapes, that are placed across the wall of a room to create chains of imagery at unexpected places. Malvina Sammarone displays a large, abstract, iron wall piece whose meaning derives from its textured and polished surfaces and careful contiguous placement of its separate rectangular parts. Likewise, Sunghoon Yang shows an evocative new painting of multi-partite and curvilinear shapes appearing as several distinct rectangular components. Linked imagery is present in Francisco López's prints and video in which he transforms figurative elements into lyrical abstractions. In an act of appropriation and transformation, Bill Rock turns a found travel journal into his own visual and conceptual statement by displaying the pages in new sequence on the wall with inscribed modifications. Finally, Heejung Kim, her interest focused on materials of everyday life, colonizes a column in the gallery- a classic, vertical, "masculine" form- with distinctively female referents - the pink wrappers of feminine panty liners - stitched together piece by piece. Here the pre-industrial act of hand-sewing confers order upon a throwaway mass of post-industrial, plastic product. A unified field of blanketing color is created that suggests a new hybrid form. Along with the new work, a video from Korean television documenting the Seoul show, as well as artist-made drink coasters from the London Biennale, including a limited number of archival collector sets of the latter, will be available. In the convivial spirit of the London show, the day before the opening, at bars near the gallery, the artists will be freely distributing new drink coasters to celebrate their return to New York.

-Written by Denise McColgan



TransCultural Exchange
300 Summer Street, Unit 36
Boston, MA 02210-1122 USA
Phone: +1.617.670.0307


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