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Jesus Benavente: Que no Quede Huella (Let There Be No Trace) at Home Gallery

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Jesus Benavente, Quede Huella (Let There Be No Trace), 2022, Neon video, 49.5 x 29 x 8 inches. Photo courtesy the artist.

At 291 Grand Street, a bright red glow radiates from Home Gallery, a storefront window exhibition space in the Lower East Side. The light comes from large, fluorescent neon letters that spell out “Que no Quede Huella,” which are layered over a flat screen TV playing a rotating series of videos. The installation is the latest iteration of multimedia artist Jesus Benavente’s neon video sculptures, displayed in the exhibition Que no Quede Huella (Let There Be No Trace), curated by Elisa Gutiérrez Eriksen. 

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How Soon is Now? On Cat Del Buono’s Art

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Installation view, Cat Del Buono, “Voices,” July 17 – 31, 2020 at Microscope Gallery, New York, NY. Photo by Seze Devres. Courtesy of Microscope Gallery.

The time is passing but the image dwells. 47 men are posing to get their picture taken, completely still. These men in suits and ties are U.S. Attorneys in the year 1933, basking in their moment of power and glory. Above them, an old wall clock’s pendulum keeps moving from one end to the other, its ticking sound loud and clear. The moment is eternalized, and the power remains, even now. 89 years and the image is still relevant: White men are in charge. Artist Cat Del Buono’s video piece Time (2011) is an illusory work in between a video and a still, framed and hung like a photograph that uncannily moves, and it displays a perpetual stalemate.

Cat Del Buono, Time (video still), 2011, video frame with mat. Courtesy of the artist.
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Sharon Yavo-Ayalon: Laminated Earth at ZAZ

Featured Artist

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installation views; 7ft Mud Curtains, photo courtesy of Yunha Choi

Laminatede Earth, Sharon Yavo-Ayalon’s large-scale multimedia installation at ZAZ10TS intersects architectural representations of housing with land art practices—raw soil and synthetic matter coalesce. Sharon Yavo-Ayalon, an artist and architect, draws from both disciplines to transform the confined lobby of 10 Times Square into a shimmering dreamy landscape. The exhibition extends to the ZAZ corner billboard on 41st and 7th with video art, taken from a performance of the artist who builds, destructs, and rebuilds her own plastic home. The show is curated by Professor Lala Ben-Alon and runs in the gallery through April 28th, 2022.

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Gabriela Vainsencher: Unfolding Motherhood


Gabriela Vainsencher in the studio with “Mom”, 2021

Gabriela Vainsencher works in photography, video and drawing, while merging all of these forms in her porcelain sculptures. Her sculptures and wall reliefs are as far off the smooth perfection we traditionally associate with porcelain – twisted forms merge into each other or repel, forming a fiery existential dance that sometimes invokes symbiosis and sometimes pulling apart.

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On Bearing Witness and Embracing Beauty

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Unprecedented, 8 ft. x 15 ft., mixed media on canvas, 2021. Photo by Joseph Hu

For over fifty years, Philadelphia-based painter, photographer, and activist Diane Burko has translated her love for large open spaces and monumental geological sites into powerful and alluring landscapes. Her exhibition at the American University in Washington, D.C. (August 28 – December 12, 2021), titled Diane Burko: Seeing Climate Change 2002 – 2021, contained 103 paintings, photographs, and time-based media depicting mountains, oceans, snow and ice, glaciers, volcanos, and fires that address the growing impact of the climate crisis.

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Remote Work

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Kris Grey (NYC) and Barbara Maria Neu (Austria), Miss(ing), 2021. Video (runtime: 4 minutes, 8 seconds), performance (15 minutes) and sculptures. Photos: un/mute team

How can artists unmute themselves and make work in creative dialogue with each other while they experience forced solitude at faraway places? How can collaborative practices be reinvented in social isolation? And how can virtual and chance encounters between strangers can lead to the making of jointly authored images and objects? The un/mute project, initiated by EUNIC New York and Undercurrent, the independent exhibition space in DUMBO, was an attempt to probe these questions by inviting 32 artists to work across borders, languages, and media, while sharing the global experience of the Covid-19 pandemic at distant locations, under varied social circumstances, and in cultural contexts.

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Artist As Subject at KuBe Art Space

Featured Project: with curator Ysabel Pinyol Blasi and artist Jac Lahav

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(From Left) Yigal Ozeri, Yayoi Kusama – Image courtesy Monira Foundation and Eileen S. Kaminsky Foundation; Yayoi Kusama, Shoes, Image courtesy Eileen S. Kaminsky Foundation

An epic show of portraiture opened in Beacon NY on October 24th. The artists roster reads as a “who’s who” in contemporary art with works from Gerhard Richter, Cindy Sherman, Ai Wei Wei, Yayoi Kusama, Yigal Ozeri, and Jac Lahav. Curated by Ethan Cohen and Ysabel Pinyol Blasi this epic show of over 50 artists explores the nature of portraiture as a springboard for what art can achieve. We sat down with curator Ysabel Pinyol Blasi and artist Jac Lahav to discuss the exhibit.

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Maggie Nowinski -Drawing (un)limited

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Maggie Nowinski, Be Spilled, My Heart, 2021 detail installation view with artist for scale, wHoles are acrylic and India ink on canvas, double sided, installation approximately 20’x30’x10’

About a decade ago, Maggie Nowinski shifted her focus from site specific project-based installation to her studio as the primary site of her work. She made this shift after realizing that her connection to the work had become too fragmented. She needed her studio work to become more accessible and her creativity more meditative. Since drawing has always been at the core of her work, focusing on drawing with limited materials and themes, enabled her to process a lot of the ideas she had been working through in her large-scale installations. “I was craving a way to immediately access creativity, to be in a place where if I had an hour I could walk into my studio and pick up where I’d left off on a drawing,” she says.

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