Elaine Tin Nyo

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Fourth Leg in the Daily Beast

Gaetano Arnone butchers a pig as performance art at a gallery in Chelsea, NYC. (Eileen Costa)

Blake Gopnik reports on “The Fourth Leg” at Postmasters Gallery, NYC in his article for  The Daily Beast, The Art of the Pig, Oct 31, 2011.

 

LEAF TEAT CURD RIND

LEAF TEAT CURD RIND, 2011installation dimensions: 16 x 30 x 18″video monitor, tabletop wine cellar, raw locally-sourced goat milk, mesophillic starter, penicillium candidum, rennet, salt, approximately five weeksA multiple consisting of a portfolio of six 11 x 17″ photographs and one pyramid of artist-made goat cheese is available in an edition of eight.
LEAF TEAT CURD RIND,
2011 is a visual poem that presents the transfiguration of grass to a soft-ripened goat cheese. The process is chronicled in a slideshow atop a repurposed wine cellar where, during the course of the exhibition, fresh goat cheese made by the artist will ripen and develop a bloomy rind. The alchemy of digestion is considered at several stages: grass by goat, goat milk by rennet, curd by bacillus, cheese by human.

Elaine Tin Nyo is a conceptual artist who uses visceral experiences to help others consider the poetical and practical ramifications of the human condition as social animals and corporeal beings.

535 West 25th Street, New York, New York 10001     www.bdgny.com 212-627-4444

 

THE PLEASURE OF SLOWNESS
Featuring works by Marina Abramović, Walead Beshty, Guglielmo Achille Cavellini, Christo, Joseph Cornell, Quisqueya Henriquez, Nancy Hwang, Nikki Lee, Elaine Tin Nyo, Roxy Paine, Cindy Sherman, Hiroshi Sugimoto, Miho Suzuki

 


SEPTEMBER 8 through October 8

 

Bertrand Delacroix Gallery is pleased to present The Pleasure of Slowness, an exhibition featuring works by some of today’s most engaging artists, both emerging and established. The works range from video and photograph to sculpture, installation, and assemblage.

 

‘‘Why has the pleasure of slowness disappeared?”

 

Milan Kundera posed this question in his novel Slowness. The exhibition presents explorations of this question through the creative practice of this selected group of artists. The works bring our attention to creative time, its inclusion and effect on process and completion.  These artworks, once past the concept stage, conclusively exist at every stage from fabrication to viewer, and often the two phases intertwine.  At times, this process takes place in the studio; in other instances, this occurs in the exhibition space on view while the work is in mutation, going through various stages toward a finishing point.

 

A reading group will meet every Tuesday at 6 pm for the duration of the show.  Join every session or just once.  Slowness is a short, slow, pleasurable read.

touchandtaste.org

touchandtaste.org, 2010

Interactive, multi-lingual website, 2000+ photographs of Korean food in situ, database

Touchandtaste.org is a collaborative website which over 2000 photographs taken during my residency in Anyang, South Korea in 2008. Korean foodies are invited to identify the items on the site to help build a field guide to Korean food. Please visit the site to get the full experience: www.touchandtaste.org

The website implies my offstage performance of walking, shopping and eating as a stranger in a foreign land. I hope it will help familiarize others with the rich cuisine of Korea as a field guide for the hungry traveler.

Heart’s Content

Heart’s Content, 2007

Art In General, New York, NY

emailed restaurant reviews, take out or delivered food, blog, 5 weeks and one afternoon

Heart’s Content: The Emails, October 2007

“Dimsum,” I am told, means something like “eat to your heart?s content.” Based on an über dimsum meal, this performance consisted of a series of subscription-only emails through which the audience witnessed my performance: gathering, eating and reviewing the food that could be ordered in an eight-block radius of Art in General, NYC. The emails also posted to a blog: www.the-eat-in.blogspot.com

Heart’s Content: The Eat In, November 2007

The project culminated in The Eat In. Art in General was converted into a dimsum house, except that the guests had to either order for delivery or pick up their own take-out from the menus I had gathered during the previous weeks. Delight and mayhem ensued as confused delivery people showed up bearing bags and bags of food. Everyone ate to their heart’s content.

The Bake Sale

The Bake Sale, 1997

Deitch Projects, New York, NY

Artist-made baked goods, 1 museum curator, 1 art critic, 1 art historian, passersby, money

The Bake Sale was a model of the Soho gallery community in which art was replaced with baked goods. In September 1997, the sidewalk of Deitch Projects hosted a Bake Sale of “goodies” made by artists with Soho Galleries. A critic (Bill Arning), art historian (Kirby Gookin), and museum curator (Dan Cameron) sold the baked goods to the greedy public. Hundreds of receipts were tallied and profits were returned to the galleries to split with the artists.

Photos and recipes of goodies were archived. Designed staff uniforms, invitations and promotional materials. Wrote checks totaling over $600.