InLiquid Presents Joseph Opshinsky

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  • July 14 – August 27, 2016
  • Second Thursday receptions: July 14 & August 11, 6 – 9pm
  • The Hall
  • Wednesday-Saturday 12-6pm

InLiquid presents Local Color: Cut Paper Collages, which is a solo exhibition in The Hall of the Crane Arts building by InLiquid artist member Joseph Opshinsky. Finding its roots in the natural world of Northeastern Pennsylvania, Opshinsky’s work often grows out of nature’s reclaiming localized scenery or the contemplation of time’s natural wear on man’s additions to the landscape. His images reveal and provide careful consideration of moments, spaces, and landscapes which often get ignored. Opshinsky’s use of bold color, the meticulous process of hand cutting and layering paper, and specific imagery evokes a sense of wonder while offering visions of beauty in places people don’t always seek it.


Opshinsky creates murals, paintings, drawings, and, more recently, paper collages inspired by localized scenery and the often overlooked landscape. He studied painting and drawing at University of the Arts, where he earned his BFA after completing an AFA in Fine Arts at Keystone College in LaPlume, Pennsylvania. Opshinsky has had several solo exhibitions recently, participated in many juried shows – especially in the last three years, and has received various awards and honors, including the Alumni Studio Spotlight through University of the Arts. Due to the localized nature of his work, Opshinsky has seen much success in exhibiting his artwork throughout the MidAtlantic region, especially – of course – in Pennsylvania. He currently lives and works in Scranton, PA.

More info: http://inliquid.org/happenings/inliquid-projects/crane-hall/local-color-cut-paper-collages-crane-hall/

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Erik Ruin’s Ominous Cloud Ensemble

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Fire Museum Presents :

Erik Ruin’s Ominous Cloud Ensemble with special guest

Asimina Chremos

Saturday, July 23rd 8:00 PM
Icebox Project Space at Crane Arts
1400 N. American St
Philadelphia
FREE

“Play Death More Sweetly”, an immersive atmosphere of largely improvised projections (including as many as 4 overhead projectors manipulated by visual artist Erik Ruin), musicians (care of his group the Ominous Cloud Ensemble) and movement (featuring dancer Asimina Chremos, perhaps more), with many performers scattered throughout the darkened space. The hour-long performance will incorporate fragments of text from Paul Celan’s iconic post-WW2 poem “Todesfuge” and exploring the themes of terror and mortality it evokes.

Erik Ruin’s Ominous Cloud Ensemble :

Erik Ruin’s Ominous Cloud Ensemble is an ever-evolving, collectively-improvising large ensemble for projections and music, led by visual artist Erik Ruin, recently lauded by the New York Times for his “spell-binding cut-paper animations.” Erik manipulates intricate paper-cuts and painted films on overhead projectors to create abstract landscapes and fragmentary scenes that are nonetheless charged with meaning, merging with music that ranges from dark atmospherics to ecstatic peaks of dissonance. Members of the ensemble include a rotating cast of Philly’s finest musicians, who have collaborated with everyone from Anthony Braxton to the Sun Ra Arkestra to Chris Forsyth to Spires That In the Sunset Rise.

Asimina Chremos:

Asimina Chremos is a dancer/artist with interest in the continua between form and flow, nature and culture, repetition and change, and discipline and pleasure. She began her artistic career as a ballet dancer and has since moved into improvisational and experimental dance, often performing with improvising musicians. Her aesthetic is also reflected in works of freeform lace crochet.

Reid Books- prepared guitar
Heru Shabaka-Ra- trumpet
Nick Millevoi- guitar
Julius Masri- electronics, percussion
Dan Blacksberg- trombone
Anna Young- vocals
DM Hotep- guitar
Lindsay Baukert- violin
Scott Verrastro- drums, percussion
Asimina Chremos- movement
Erik Ruin- projections, tapes

 

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AFRICA Modern / 1960-2010

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  • May 18 - October 8, 2016
  • Indigo Arts
  • Wed - Sat: 12 PM to 6 PM

Africa Modern celebrates thirty years of showing the arts of Africa at Indigo Arts Gallery. The exhibit samples the broad range of artwork from the fifty years following Africa’s independence from colonial rule – roughly from 1960 to 2010. It includes paintings, prints and sculpture by artists from Kenya, Mozambique, Nigeria, Tanzania and Senegal. Artists include: Kamante Gatura, Kamau “Cartoon” Joseph, John Kamicha, James Mbuthia and Sane Wadu from Kenya; “Dino” (Camordino Mustafa Jetha) from Mozambique; Yinka Adeyemi, Toyin Folorunso, Femi Johnson and Twins Seven-Seven from Nigeria; Omary Amonde, Mohammed Wasia Charinda, George Lilanga, Sayuki Matindiko and Simon Mpata from Tanzania; and Gora Mbengue and Alexis Ngom from Senegal.

The artists’ work is as diverse as the African continent. Most of these artists are self-taught, or come out of a workshop environment. Their work is modern in style and medium, but in many cases draws on an older, “tribal” or religious tradition. The Nigerian artists all come out of the Oshogbo artists’ workshops that date from the early sixties. While they worked in various media – oil and acrylic painting, etching, batik, repoussé metal and even beadwork – much of their work was inspired by the traditions and mythology of their Yoruba ethnicity. The most prominent member of this group was Twins Seven-Seven, who exploded on the Nigerian scene to great acclaim in 1964, but spent much of his later life in exile in Philadelphia.

The Kenyan artists vary in style and background but most are self-taught and passed through an artists’ workshop, such as the Banana Hill Art Studio, Ngecha Artist Association, or Kuona Trust Art Studio.

The Tanzanian artists all have links to the Tinga-Tinga popular painting movement invented by the late Edward Saidi Tingatinga in 1968. His brother Simon Mpata and his cousin Omary Amonde both worked in the lively style he pioneered, but some have veered in other directions – Mohammed Charinda to a documentary and sometimes brutally realistic style and Sayuki Matindiko to a playful cartoonlike style inspired by the magical shetani figures of George Lilanga.

Mozambique wood-carver Dino also works in a documentary style, depicting places, professions, ceremonies and events of modern Mozambican life with precision and humor.

The Senegalese artists work with reverse-painting on glass, expanding on a tradition of Muslim religious icons and family portraits, with subjects that draw on modern Senegalese life and folklore.

More info: http://indigoarts.com/

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ARCHIVE COLLECTIVE: SOUTH KENSINGTON 19122

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  • JUNE 9 TO AUGUST 28, 2016
  • OPENING RECEPTION: JUNE 9, 6-8PM
  • PPAC
  • Tuesday–Saturday · 10am - 6pm

This summer, ‘Archive Collective: South Kensington 19122’ will call on South Kensington’s residents to narrate the story of their community as it has changed over time. As part of the Philly Block Project, an ongoing, grassroots collaboration in this community, curator Kalia Brooks will unveil ‘Archive Collective’ as the first of two exhibitions in the PPAC Gallery.

Since September 2015, the Collective has been gathering and organizing media that tells the story of South Kensington. The resulting archive includes photography and film that reflect the civic, industrial, spiritual, recreational and familial components that make up the dynamics of a place.

More than 1,200 images were submitted to the archive by current and former residents; through these images, you will ‘meet’ Hakan Ibisi, who carries a photograph of the Turkish grandfather who passed before he was born, but inspires him through their shared connection to Kensington’s streets. Then there’s David Livewell, a homegrown poet whose writing is inspired by his family photography. Joined by dozens of new and experienced artists in South Kensington, their narratives will activate the history and the experience of the South Kensington neighborhood as it continues to shift.

Sourcing archival images from libraries, city records and beyond, the exhibit also showcases landmarks like America’s first Salvation Army, Girard Ave’s iconic trolleys, and the once prolific Stetson hat factory.

Whether you’ve witnessed these changes first-hand, or you’ve only experienced a small piece of South Kensington, the exhibition will take a deeper look at where our community has been and where we’re heading. Meet us at PPAC this June for the opening of ‘Archive Collective: South Kensington 19122!’

Major support for the Philly Block Project was provided by The Pew Center for Arts & Heritage, with additional support from The John S. and James L. Knight Foundation, National Endowment for the Arts and Penn Treaty Special Services District.

* Photograph by David Livewell of his brother and his friends hanging out at Hancock Playground in the 80’s.

More info at PPAC

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