Artists Roundtable: PRO BIAS (Probing Bias)

Cudelice Brazelton

Cudelice Brazelton

WHAT: Artists Roundtable 
WHEN: July 9, 6:30-7:30 PM
WHO: Sanaz Sohrabi, Cudelice Brazelton, Tal Nisim, and Zoe Berg, along with curator Nancy Lu Rosenheim
IN CONJUNCTION WITH: PRO BIAS (probing bias), an exhibition at The Bike Room; ACRE

We look forward to hosting an artists roundtable with Sanaz Sohrabi, Cudelice Brazelton, Zoe Berg, and Tal Nisim, all 2014 residents at the ACRE residency! The artists are being brought for PRO BIAS (probing bias), an exhibition organized by artist and curator Nancy Lu Rosenheim. PRO BIAS will take place at The Bike Room from July 11-August 15. All are welcome to join for this open discussion!

From The Bike Room: PRO BIAS (probing bias) examines the role and relevance of identity in context of the global art landscape. PRO BIAS resists the persuasion of Globalism’s homogeneity, revaluating the unassimilated stance. With Identity Politics c.1970s forty years past supplanted by social practices and worldwide art connectivity, what does identity look like?

Cudelice Brazelton (Columbus, Ohio) explores issues of race and class, often appraising stereotypes of hyper‐black masculinity. Cofounder of M I N T, an artist-run project space housed in a former meatpacking plant, Brazelton harvests factory-salvaged dirt and detritus to stamp his art objects with a laborer’s hand.

Zoe Berg (Denton, Texas) elaborates homespun myths through performance, video, props and installation. Like a ventriloquist she channels the voices of multiple characters, ranging from her Norwegian grandfather to a flower troll baby deity. Berg accesses pop culture, Scandinavian folklore and family histories to inform her abundant, idiosyncratic narratives.

Tal Nisim (Tel Aviv, Israel) both honors and undermines nostalgic associations with Israeli terrain. His image manipulations include enacting violence upon his equipment; he kicks and smashes photographic lenses, dismembers printers and fastens video cameras to beating metronomes. Nisim overhauls documental fidelity by challenging staid constructs of landscape and recorded histories, and the politics inherent within.

Sanaz Sohrabi (Chicago, IL) elucidates still and motion images that emerge and recede like memories. We recognize political events whose details elude us – Sohrabi’s reenactments are fictions. Choreographed emancipatory movements gather force toward unimagined destinies; assembled bodies coalesce and fall apart. The displaced Self redefines its confines within ever changing environments. 

EventsColleen Keihm