Artists Space

Danica Barboza
Jason Hirata
Yuki Kimura
Duane Linklater

December 6, 2019 – February 9, 2020

A two-toned wardrobe constructed from wood stands between two framed mirrors mounted on a yellow-orange wall above marble tiling. The reflection between the two mirrors causes the wardrobe
Yuki Kimura, Wardrobe Extensions Version 4, Oracle, Berlin, 2018. [A two-toned wardrobe constructed from wood stands between two framed mirrors mounted on a yellow-orange wall above marble tiling. The reflection between the two mirrors causes the wardrobe's image to be repeated infinitely.]

Opening Friday, December 6th, 6 – 8pm

Artists Space will open at 11 Cortlandt Alley with new work by Danica Barboza, Jason Hirata, Yuki Kimura, and Duane Linklater.

Danica Barboza (b. 1988, New York) lives and works in New York and graduated from Cooper Union in 2012. Recent solo exhibitions include Omnia - Mercurial, Interposition, Galerie Buchholz, Cologne (2019); and EXPECTATIONS - HISTO-SATIS, Lomex, New York (2017). Barboza published a limited edition of her ongoing novel SPONDERE earlier this year and will be exhibiting a series of new works at the Schinkel Pavillon, Berlin, in early 2020.

Jason Hirata (b. 1986, Seattle, WA) lives and works in New York. Hirata holds a BFA in photography from the University of Washington. Recent solo exhibitions include Pelican, Svetlana, New York (2019); Veronica Project Space, Seattle (2019); Work Organized by Jason Hirata, Kunstverein Nuremberg (2019); The Brink, Henry Art Gallery, Seattle (2016); and Muscle Beach, Portland (2016). Coinciding with this exhibition at Artists Space, Hirata will present a solo exhibition at 80WSE, NYU. 

Yuki Kimura (b. 1971, Kyoto, Japan) lives and
 works between Berlin and Kyoto. Recent solo exhibitions include Reception, Taka Ishii Gallery, Tokyo (2019); Inhuman Transformation of New Year's Decoration, Obsolete Conception or 2, CCA Wattis Institute, San Francisco (2016); Gluck50, Milan (2014); Izu Photo Museum,
 Japan (2010); and Daiwa Press Viewing Room, Japan (2009). Kimura has also participated in numerous group exhibitions worldwide, including Ocean of Images: New Photography, Museum of Modern Art, New York (2015); Better Homes, SculptureCenter, New York (2013); São Paulo Biennial (2012); and Daegu Photo Biennale, Daegu (2012). 

Duane Linklater (b. 1976) is an Omaskêko Ininiwak artist and is currently based in North Bay, Ontario. Recent exhibitions include From Our Hands, 80 WSE Gallery, New York (2017); Field Station, Eli And Edythe Broad Art Museum, Michigan State University (2017); From Our Hands, Mercer Union, Toronto (2016); salt 11, Utah Museum of Fine Arts, Salt Lake City (2015); and It means it is raining, Institute of Contemporary Art, Philadelphia (2015). Recent group exhibitions include Soft Power, SFMOMA, San Francisco (2019); SeMa Biennale, Seoul, Korea (2016); and Walter Phillips Gallery, Banff, as part of dOCUMENTA (13) (2012).

Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. Several sculptures are visible behind the structure, containing disembodied humanoid heads arranged among platforms and pieces of wood, cardboard, and other materials.
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. Several sculptures are visible behind the structure, containing disembodied humanoid heads arranged among platforms and pieces of wood, cardboard, and other materials.]
Installation view of a gallery filled with projectors arranged on the floor around three large black columns in the middle of the room. Each projector is projecting a bright white test screen onto white walls, aligned so all play at the same height. A wooden wardrobe stands in the foreground of the image against a white wall.
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Installation view of a gallery filled with projectors arranged on the floor around three large black columns in the middle of the room. Each projector is projecting a bright white test screen onto white walls, aligned so all play at the same height. A wooden wardrobe stands in the foreground of the image against a white wall.]
A wooden wardrobe stands against a white wall. In the background, four projectors sit on the floor amid one black column. Two white test patterns are projected on white walls.
Yuki Kimura, Wardrobe Extensions Version 5, 2019, three wood wardrobes with metal hardware, wood panel, paint. Photo: Daniel Pérez [A wooden wardrobe stands against a white wall. In the background, four projectors sit on the floor amid one black column. Two white test patterns are projected on white walls.]
21 silver, round, stainless steel trays sit nested on a wood floor.
Yuki Kimura, The Circle, 2019, 21 stainless steel round trays. Photo: Daniel Pérez [21 silver, round, stainless steel trays sit nested on a wood floor.]
On a black platform, assorted pieces of wood, cardboard, and wire prop up a disembodied humanoid head. The figure’s head is misshapen, as if melting, obscuring the eyes but leaving the nose and open mouth visible.
Danica Barboza, Anima of a Relationship [The ‘SV’ Edition] (Section B), 2019 (detail view), hand-modeled clay, white acrylic paint, textured paint, paper, metal, newspaper, Rooibos tea bags, gloss, wooden blocks, Mac computer. Photo: Daniel Pérez [On a black platform, assorted pieces of wood, cardboard, and wire prop up a disembodied humanoid head. The figure’s head is misshapen, as if melting, obscuring the eyes but leaving the nose and open mouth visible.]
Three unmatching plastic bottles filled with urine are sitting in a line on a wood floor. In the background, a mixed-media installation piece sits in front of the gallery doors. Wooden poles project into the frame through two standing columns.
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Three unmatching plastic bottles filled with urine are sitting in a line on a wood floor. In the background, a mixed-media installation piece sits in front of the gallery doors. Wooden poles project into the frame through two standing columns.]
Three sculptures grouped together in the corner of a gallery, with a street in Manhattan visible through large windows at the rear of the room. The largest sculpture stands behind the other two; clustered pieces of wood, string, cardboard, paper, metal, and plastic are propped up, arranged on top of one another, all standing on a large cardboard base. A humanoid white bust lies on top of the structure, its face cut in half. The two smaller sculptures also depict humanoid faces - one in white, the other with skin and hair - and both appear to grow out of masses of misshapen cardboard and wood standing on the floor.
Danica Barboza, From a Chapter in Acclimatization, 2019, hand-modeled clay, acrylic paint, rope, yarn, wood, plastic clothing hangers, condensed foam, PVC piping, newspaper, plastic bottle, orange plastic crates, black plastic shipping crate, signature tape-binding with protective gloss, shower curtains, child’s wooden chair, plastic child’s toy, white shelving unit, metal table leg, wooden shipping crate, cherry wood stained card-table top, Insignia TV monitor, wooden pole, metal pole, painted silicone, natural hair, painted glass. Photo: Daniel Pérez [Three sculptures grouped together in the corner of a gallery, with a street in Manhattan visible through large windows at the rear of the room. The largest sculpture stands behind the other two; clustered pieces of wood, string, cardboard, paper, metal, and plastic are propped up, arranged on top of one another, all standing on a large cardboard base. A humanoid white bust lies on top of the structure, its face cut in half. The two smaller sculptures also depict humanoid faces - one in white, the other with skin and hair - and both appear to grow out of masses of misshapen cardboard and wood standing on the floor.]
Three unmatching bottles filled with urine surround the base of a black column. Two lie horizontal, one stands upright.
Jason Hirata, Why Not Lie?, 2020 (detail view), plastic bottles, urine. Photo: Daniel Pérez [Three unmatching bottles filled with urine surround the base of a black column. Two lie horizontal, one stands upright.]
Installation view of several works in a gallery space. Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. A wooden wardrobe stands against a wall in front of the structure. Several bottles filled with urine stand in a line behind the structure, in front of an abstract sculpture in the corner of the room. The sculpture contains a humanoid head, a TV monitor, and haphazard pieces of wooden and cardboard.
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Installation view of several works in a gallery space. Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. A wooden wardrobe stands against a wall in front of the structure. Several bottles filled with urine stand in a line behind the structure, in front of an abstract sculpture in the corner of the room. The sculpture contains a humanoid head, a TV monitor, and haphazard pieces of wooden and cardboard.]

DANICA BARBOZA, JASON HIRATA, YUKI KIMURA, DUANE LINKLATER Exhibition Booklet

Danica Barboza Insert

“Artists Space Re-emerges as an Enduring Downtown Alternative.” The New York Times. December 12, 2019.

“Sally to the alley: the venerable gallery finds its new home.” 4Columns. December 20, 2019. Online.

Scott, Andrea. “A New Artists Space,” The New Yorker.

Lead support

VIA Art Fund

Support
Special exhibition support provided by Laurence Eisenstein & Robin Zimelman, Herman Goldman Foundation, and Taka Ishii Gallery.

Additional support provided by The Friends of Artists Space, Lambent Foundation Fund of Tides Foundation, May and Samuel Rudin Foundation, Atelier4, New York City Department of Cultural Affairs in partnership with the City Council, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

    On an elevated walkway that overlooks a cityscape, three wooden rods form a teepee in a green space. A white rope hangs from where the structure is tied together, the other end suspends a large rock very close to the ground.
    Duane Linklater, pêyakotênaw, 2018. Mixed media. Installation view, Agora, High Line Art, New York, 2018. [On an elevated walkway that overlooks a cityscape, three wooden rods form a teepee in a green space. A white rope hangs from where the structure is tied together, the other end suspends a large rock very close to the ground.]