TONIGHT ZEN MAFIA IS DJING SOME SHIT AT THE LACMA WITH DUBLAB, MATTHEWDAVID, 2TRUE DJ’S, NGUZUNGUZU & SOME OTHER FOOLS FROM 8-MIDNIGHT

COME SAY WUT UP IF YOU KNOW WHAT WE’RE TALKIN ABOUT

DOPE ARTIST / FRENCH FUCKER, FREDERIC FLEURY DREW SOME PORTRAITS OF ZEN MAFIA MEMBER, GAPER,  BUSY AT WORK OVER AT FAMILY ON FAIRFAX

if you can still find Frederic’s last zine, “La Passion Du Bois” cop that shit, its so good.

ALSO, OUR HOMIES OVER AT HAMBURGER EYES...

..ARE HAVING THEIR ANNUAL EBAY FUNDRAISER AUCTION! GO BID ON THEM SHITS, HUELS GOT SUM STUFF IN IT &  YOU COULD SCORE SOME DOPE PHOTO PRINTS 4 CHEAP

PLUS IF YOURE IN HOLLYWOOD, CRAZY BAND IS PLAYING WITH RTX!

SEE YOU THERE!

Teaser up now at the new O.H.W.O.W. vide-O-house !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Halloween Night Miami Madness 2009 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Steamy Saturday night in Miami. Art for art’s sake at O.H.W.O.W.
Michael Genovese brought the heat although sometimes it’s not the heat, it’s the humility…

More images at O.H.W.O.W.

Figure 1

Figure 2

O.H.W.O.W. presents MICHAEL GENOVESE – IT’S NOT THE HEAT, IT’S THE HUMILITY
this Saturday, June 13, 2009.

Michael Genovese’s work operates as a reflection, both in a conceptual context and in a literal sense. This exhibition addresses a range of subjects, from Art History to American culture, pomposity to personal debt. The artist holds up a mirror in order to understand his identity and his role in relation to these subjects, while challenging the viewer to perform the same exercise. How we define ourselves, our choice of expression, the ways we are influenced by what we read and experience, all create cause for reflection and require a measure of humility in doing so.

Genovese’s text engravings on high-polished aluminum panels are simultaneously illegible and painstakingly detailed; they are further evolved reincarnations of pulp and prose. By turning his formerly disregarded mail – unpaid bills, debt collector threats, and legal documents – into sacred objects, he aims to more accurately convey the power of burden (figure 1). Also among this collection of engravings is a panel cataloging public commentary gathered from a previous project, citing nonsensical quotes like “Tippy-toe on the pooty-side” alongside profound examples: “Our dreams don’t fit on your ballot”. Another engraving plucks sections of cultural essays; from Ralph Ellison’s “Invisible Man” : “You ache with the need to convince yourself that you do exist in the real world…”. Two chrome-plated, twin pieces, present the myth of Narcissus – one in Spanish, the other in French.

A pentaptych of paintings, executed in a style similar to the engravings, rewrites selections from a manifesto on Futurism – a lofty art movement, full of Italian bravado, which fell short of its own expectations. “Today, let tomorrow go” is the incomprehensible message on a monochromatic black painting. In each incarnation of the two-dimensional work a reflection is forced, but an obstacle exists – the process of analysis is difficult, uncomfortable, and at times simply impossible. The overall presentation of this work is an appropriation of theories from “Art and the Power of Placement” and a nod to the bygone era of formal gallery settings.

Three large-scale sculptures continue the conversation of obstacle and experience. A porch (figure 2), missing its home, is preserved like a giant chunk of amber containing the DNA of a tragic history. A bizarre arrangement of ordinary pipes and chains is elevated to grandiose through its nickel-plated treatment. Metal rails are manipulated into a circular formation, grounded with cement footings molded from traffic cones. The motive of this work is also an interactive one; an invitation to flex your agility on a course constructed to humiliate.

Accumulated sheets of paper, in actuality, weigh less than an ounce, yet can resonate the poundage of an anvil. Genovese takes intellectual ideas and gives them anatomy to match significance, while trying to preserve their original integrity. Ten-gauge aluminum panels somehow feel ephemeral, and a hulking wooden sculpture still gives a fragile impression; interpretations change depending on the view.

- essay by Lydia Ruby

Lydia Ruby is an independent curator and writer. Prior to this, she worked as Director/Curator for RHYS Gallery, Boston and from 1999-2006 she worked at the Museum of Fine Arts, Boston. Lydia has a Graduate degree in Arts Administration from Boston University.

Images courtesy of Michael Genovese ©2009

Genovese preparing for his solo show opening June 13, 2009 at O.H.W.O.W..

Art damage!!!

Aaron Young working out of his O.H.W.O.W. studio last week in preparation for his Gagosian show in 2010.

Photos by Sebas Masferrer

In most cases, a photographer achieves his notoriety by the ability to capture the essence of his subjects through the lens. In Keichii’s case, his photography draws you behind the lens, providing entry into a world that is distinctly his. It captures an attitude and feeling that is unmistakably unique and can be accurately described as “Keiichi just being Keiichi.”

Keiichi’s photography takes us on journeys through eroticism, sexuality, beauty, decay and everything in between. His life, and his work, resonantes with the excitement and exuberance of youth. His zest for life is evident in every single one of the photographs in his book.

They say that a picture is worth a thousand words. In Keiichi’s case, his pictures say much more than that. After one look at this book, you’ll feel like you know him intimately. As a matter a fact, you’ll feel like you’ve known him your whole life. It seems there’s a little bit of him in all of us. His approach is rooted in the joie de vivre that we all had as children. It’s raw. It’s real. It’s unrehearsed. It’s memorable. Most of all, it’s “Keiichi just being Keiichi.”

-excerpt from essay by Al Moran

Hard cover, 9 x 9 in., 140 pages featuring a full-length interview by Tomokazu Kosuga (Editor, Vice Magazine Japan) and an essay by Shigeo Goto.

www.oh-wow.com

Published to commemorate Aaron Young‘s historic motorcycle performance at the opening of the Center of Contemporary Culture Moscow. Young choreographed a team of motorcycle riders to weave dangerously on a specially prepared platform. The resulting tire-burns and skid marks create an amplified expansion of Jackson Pollock’s famous “action paintings.” This fully illustrated volume captures the spirit of the moment through stunning photography of the actual performance and its aftermath.

www.oh-wow.com

O.H.W.O.W. and Terence Koh’s A.S.S. proudly present new work by New York-based artist Leo Fitzpatrick. FUCK FRIENDS features wide sampling of the artist’s collaborations with his peers and close friends. Featuring an essay by Nate Lowman and imagery by featured collaborators: Rita Ackermann, Lizzi Bougatsos, Joe Bradley, Dan Colen, Tony Cox, Brian DeGraw, Gardar Eide Einarsson, Terence Koh, Andrew Kuo, Hanna Liden, Nate Lowman, Adam McEwen, Neckface, Agathe Snow, Dash Snow, Spencer Sweeney, Kon Trubkovich, and Fuck this Life.

www.oh-wow.com

 

More exhibition images at www.oh-wow.com

O.H.W.O.W. proudly presents SCOTT CAMPBELL

Opening April 11, 2009 – In what will be his first major solo presentation of his works, Campbell will showcase his unique aesthetic via sculptures, paintings, drawings and photography. Scott Campbell was born and raised in a fishing camp, perched alongside a muddy bayou in rural Louisiana. With a clever knack for drawing and a fondness of stories, he began his career by doing illustration and assistant editing. Curiosity soon led him to experiment with tattooing and his immediate mastery of the art was undeniable. After a subsequent 18 month stint in Spain honing his craft, he packed up his skills and his tattoo machines and traveled for the next 5 years taking inspiration from the art and folklore of tattoo cultures all over the world.

In 2004, he opened Saved Tattoo in Williamsburg, Brooklyn. Since then, it has grown to be the East Coast’s premier tattoo shop with a devout following of celebrity clientele. Campbell has the taken the blue collar grit and lore of tattoo culture and extracted a visual language and wit that are supremely refined and deliberate. He has an uncanny ability to tell a story with any medium, flesh or otherwise.

Recently, Campbell has been featured in group exhibitions at the IIleana Tounta Contemporary Art Centre in Greece, the Massimo Carasi gallery in Milan, Italy, Colette in France, Moeller Snow Gallery in New York, and O.H.W.O.W. in Miami during Art Basel Miami Beach.

3100 NW 7 Avenue / Miami / Florida / 33127

www.oh-wow.com

 

A-ron and Al want to thank everyone who made this weekend’s event so legendary. A monster thanks to all of those who made this happen: Mills Moran, Xavier Burt, Raul Sanchez, Pres Rodriguez, Karina Ors, Mad Decent Family, Hamburger Eyes, Diplo, Lil Jon, Turntable Lab, IHEARTCOMIX, Trouble and Bass, Sega, Cham, Drop The Lime, The Captain, Unemployed Lloyd, Rocktagon…the list could go on and on.

In what turned out to be the ultimate FUCK YOU to Winter Music Conference, the O.H.W.O.W. compound was overrun by thousands of friends escaping the typical WMC grind. While every space in Miami was charging $100 entry fees and selling $15 drinks, O.H.W.O.W. supported the community with a FREE EVENT. Free admission and free alcohol flowed for 10 hours in what turned out to be the most talked about event of the week. It all started with an amazing photography exhibition by Hamburger Eyes and ended with a police raid right after a ridiculous 1 hour performance by Diplo and Lil Jon.

More images at OHWOW

Photos by Jon DeCola

OHWOW.com