Gregg Fleishman and Nana Tchitchoua present new works in the exhibition Seeing-Being-Dwelling, a mixed-media exploration of the world around us, the world within us and our situation with regard to them both.
Nana Tchitchoua’s new drawings and paintings are vibrant with life, luminous kaleidoscopes romantically intertwining humans and wildlife. Her work offers us a visual embrace on the way to an inner world, an up close and personal experience with birds and animals. Textural stencil works made from scraps comprise the graphic environments – a magical coexistence of elements.
As a continuing theme of the previous collaborative exhibitions such as The Kindergarten for All Agesî, the new works presented in Seeing-Being-Dwelling seek to navigate cultural divisions and fixed boundaries in order to discover ways of simpler and better living. This exhibition is dedicated to all the glimmers of awareness, possible solutions, and constructive approaches.
I was introduced to the work of Nana (Nanuka) Tchitchoua recently and couldn’t be more pleased. Her puzzle piece installations are based on her own mixed heritage and cultural struggle yet maintain the lightheartedness whimsy of a favorite childhood memory. Clearly influenced by the Dadaists, her eclectic work is being shown currently at the Gregg Fleishman Studios (who’s work is worth a peek on it’s own merit) in Culver City, Ca.
Gregg Fleishman Studio is pleased to (re)-present Other ‘Zones’ II: The Garden and The Cube, ‘an exhibition in progress’ considering the intersection of architecture and visual arts. The Culver City based artists Gregg Fleishman, Nana Tchitchoua and Rachel Portenstein, translate their collaborative fusion into an exhibition of social/architectural experiment centered around interactive puzzle paintings, 3-dimensional scale models, a full size cube (shelter system), a play structure, labyrinth and wonderland paintings and hanging paper sculptures. The space is a fantastic environment of harmony, playfulness and thoughtful investigation into the future in a call for radical reconstruction.
Gregg Fleishman's work redefines structures in playful expressions of geometrical harmony. He constructs structural skeletons,
grounded in real world conditions and meant to provoke new ways of living. These noble buildings are held together in scale and
character by Fleishman's unique elaboration on joints concentrated and harmoniously fitting together. In addition to structures
and models, the exhibition space is adorned with his dignified signature "SCULPT C H A I R S" that have been previously exhibited
worldwide and grace the collections of MOMA, the Yale University Art Galleries, and the Art Institute of Chicago.
The Garden and The Cube is not installed in a uniform manner throughout the gallery but instead is conceived as a variety of experiences. The sort of questions raised by the cross-fertilization of archi-art seeks to circumnavigate the boundaries of space and time by the creation of interdisciplinary objects that are modular, portable and transformative in their nature. The exhibition is both a social/architectural experiment and an analogy with games advocating new modes of survival and living experimentally to transform social relations by manipulating space and time. The KinderGarten for All Ages.
opening reception : Wednesday, July 4, 2007, 7:00pm
March 31 – May 1, 2007 Opening Reception: Saturday, March 31, 7pm
Gregg Fleishman Studio with Nana Tchitchoua
3850 Main Street Culver City CA 90232
Gregg Fleishman Studio is pleased to present Other “Zones”, an exhibition considering the intersection of architecture, art and education. Featuring a collaboration with Nana Tchitchoua and a sampling of children’s art, the exhibition is both a social/architectural experiment and an analogy with games advocating new modes of survival, living experimentally to transform social relations by manipulating space and time. Other “Zones” is centered around interactive architecture and puzzle-paintings which invite public participation and reflection on the problems of time, distance, history, and the future in a call for radical reconstruction.
Impressions from Rustaveli: An interpretation of a romantic poem by an eleventh-century Georgian monk. SCREENING AT THE NYC MoMA
The Museum of Modern Art, NYC May 25 – August 13 2006 39 Provocative Programs, Over 200 Filmmakers
This exhibition celebrates more than three decades of intimate, inventive, and technically sophisticated student filmmaking and videomaking, and features a breathtaking range of nonfiction, narrative, animation, and experimental styles and genres. Particular focus is given to the famed animation program, where students have used everything from cutting-edge computer and optical printing technologies–many of which they developed themselves–to homespun materials like chewing-gum wrappers, nail polish remover, and lint. TOMORROWLAND is the most comprehensive exhibition that MoMA has devoted to an American Film School.
Organized by Joshua Siegel, Assistant Curator, Department of Film and Media, The Museum of Modern Art.
Which film is more important, a formula movie that doubles and triples its multimillion investment into more millions of dollars, or a low-budget indie which generate profit as frequently as Las Vegas gaming machines release fortunes out of their greedy mouths, or zero-budget “sub indies,” mostly seen by friends and business associates? If the answer seems obvious, then think again. Box office numbers are not the only success meters. For instance, aesthetics ignores these numbers altogether. Instead, it looks for the miraculous presence of something indefinable that touches human hearts. From this point of view, the success of an artistic creation is measured by it’s ability to lift a soul above its daily concerns into a higher realm of finer energies — closer to God and His angels. This phenomenon has a name – catharsis, in Greek – katharsis. According to Oxford dictionary, it means “purification of the emotions by vicarious experience,” in other words, cleansing by co-experiencing hero’s challenges, pain and suffering. The tricky part is that there are no success recipes, creators really cannot tell how they caught viewers’ attention, and it really doesn’t matter who the heroes are – masters or slaves, saints or sinners, or a bunch a murderers as in Hamlet, or if heroine is a prostitute as in La Dame Aux Camelias.