Newsletter February 2017
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Nadja Verena Marcin’s OPHELIA will be an architectural performance both presented live and as video sculpture evoking questions of anthropocentric attitudes and actions that are resulting in human destruction of the biosphere. The artist will be reenacting Ophelia’s final moments inside a saltwater water tank—wearing an Ophelia-like dress, and a transparent breathing mask, the artist will appear dreamlike but deprived, attempting to quote text from Daniil Kharms’ The Werld about human subjective perception. The final video-sculpture, an aquarium-like transparent sarcophagus, with video screens on its longer sides, will display footage of the live performance. The iconic artwork and text that have inspired and will inform this performance includes Ophelia (Millais, 1852) and Three Ball Total Equilibrium Tank (Koons, 1985) and text from The Werld (Kharms, 1939).The image of Ophelia inside an advanced, constructed reality, kept alive through a mask and encircled by technology, will be a metaphor for the Anthropocene: “The human imprint on the planet has now become so large that it rivals some of the great forces of nature.”



Multi-disciplinary artist Nadja Verena Marcin's photographic work Cinema Pirata, will be on view at Jaeckel Gallery in New York, February 4 - March 4, 2017—presented in the exhibition Winter Salon. An opening reception will be held Saturday, February 4, 4-6pm, at which the artist will be present. 

Marcin's arresting image first appeared in her recent solo exhibition Cinema Pirata – How To Undress in Front of Your Husband, alongside the artist's film How to Undress In Front Of Your HusbandThe exhibition—covered by VICE Magazine in A Sexist 1960s Film Remake Rewrites Cinema History—considered the permitted roles and power dynamics in the production of mass media and film. Designed in collaboration with the architectural designer Terrence Schroeder, and housed within the confines of an historic feminist art space, the show also comprised Distribution Vehicle, in which Marcin's video works were screened inside the backseat of a station wagon—popping up around the neighborhood during Bushwick Open Studios—as a nod to Kunstraum’s bootleg video store (of which Marcin is also a founder). The jerry-rigged nature of the screening room was Marcin's humorously dark reference to the challenges that female filmmakers often face regarding the distribution of their work. As a gesture releasing the works from their potential patriarchal and capitalist constraints, nothing was exploited, sold, or purchased. Passers-by could only be spectators of the pieces.  

Often deflating the gendered hierarchies embedded within the film industry, much of Marcin's work reflects on the roots of our cultural behaviors, in an attempt to shift the roles and voices of the media that we currently consume. “At the core, I aim to express that the full world of gender and the breadth of its expression has the potential to exist within one person, and that person is also the almighty oppressor or oppressed—depending on how we want to see it. Just as authentic cinema comes from within a culture and not from outside, a genuine challenge to the patriarchal system needs to emerge also from the margins.” Winter Salon also contains works across media—including painting, photographs, mixed media, and video—by Gustavo Acosta, Bernard Ammerer, Paul Behnke, Bergman & White, Marcy Brafman, Kathy Bruce, Marie Dolma, Reynier Ferrer, John A. Parks, Ian Hughes, Ilyan Ivanov, Julie Langsam, Darrell Nettles, Alastair Noble, Eva O’Leary, and Tanja Selzer.

February 4 - March 4, 2017
Opening Reception: Saturday, February 4, 4-6pm

Jaeckel Gallery
532 W. 25th Street

New York, NY 10001


IMAGES, Top to Bottom: Bride, 2015, C-Print, 41 x 31 in / 105 x 79 cm; Cinema Pirata, 2016, C-Print, 26 x 20.75 in / 66 x 53 cm. All images copyrighted © Nadja Verena Marcin.

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