PULSE Art Fair’s signature PROJECTS program is committed to the presentation and promotion of audience-engaging large-scale sculptures, installations and performances.

PROJECTS | New York 2015

  • Amir Baradaran

    View of Man Na Manam Na Man Manam + {AR}Ticulations of the Self,  projected live from Istanbul on September 9, 2015. Photo by Pinar Lauridsen, courtesy of the artist.

    Programming Sponsor

    Special Thanks to


      Man Na Manam Na Man Manam comments on Augmented Reality (AR) technology’s promise to change our experiencing of body/object and body/body interactions. This interactive installation is conceived to add new layers of meaning to the ways in which bodies are perceived, projected and consumed in performance art.

    For the installation to activate, the participant and the artist must stand in front of each other, connected through digital mirrors and cameras equipped with depth sensors, colour sensors, facial detection and movement algorithms. When both the participant and the artist start singing the refrain Man Na Manam Na Man Manam, a line from mystic Sufi poetry, aloud, slowly half of the face of the participant dissolves and gets replaced by that of the artist and vice versa. Blending the mysteries behind the spectacle of the AR technology to that of Sufi poetry, the sound of the mantra-like refrain, the fragmented reflection and the very act of smiling evoke a moment of introspection. A 15 seconds grab of the interaction is recorded and processed live into a short video and is uploaded to Instagram—and projected onto a large screen across from the room.

    Special thanks to Canada Council for the Arts, Intel, Diana Saez, Reality Arkitekts, Devigners’ Guild (Muñoz, Barrios, León), MYND Workshop & Christopher E. Scott.


  • Kate Durbin

    Hello Selfie LA
    Photo by Jessie Askinazi

    Tuesday, December 1

    3:30 – 4:30 pm

    Kate Durbin will perform the fourth iteration of her ongoing performance work, Hello Selfie!' at PULSE Miami Beach 2015. In 'Hello Selfie!' Durbin presents a new form of passive aggressive performance art, with female performers taking selfies in a public space for an hour straight, uploading them to the Facebook event wall in real time. A playful exploration of selfie culture and an intervention into the space of the art fair, where women have traditionally been muses for male artists, 'Hello Selfie Miami' invites viewers to consider their roles as spectators and as fair goers. Video pieces produced from documentation footage of the first three 'Hello! Selfie' performances—in Los Angeles, New York City, and Brisbane, Australia (with men)—will be exhibited at PULSE in the TRANSFER booth

  • Alicia Eggert & Mike Fleming

    You are (on) an Island, 2011-2013
    Neon, wood, latex paint
    120 x 120 x 96 inches

    Courtesy of the artists and Sienna Patti, booth N-313

    You are (on) an island is a neon sign whose message is animated by the word “on” flashing on and off at regular intervals, transforming an obvious statement into a reflective and philosophical inquiry.

    The sign suggests that you as an individual are, like an island, isolated from other human beings in both your body and your mind. However, the word “on,” when it appears, reminds you of your place in the world. The island you find yourself on may be geographical, metaphorical, political, or ideological. By constantly flipping between these two statements, You are (on) an island prods you to think both inside and outside of yourself, inviting you to marvel at the world you inhabit and the role you play in it.

    Alicia Eggert (b. 1981) is an interdisciplinary artist whose work focuses on the relationship between language, image and time. Alicia's work has been exhibited at notable institutions nationally and internationally, including the CAFA Art Museum in Beijing; the Triennale Design Museum in Milan, SIGGRAPH Asia in Hong Kong; the International Symposium on Electronic Art (ISEA2012) at the Albuquerque Museum of Art and History; Cyberfest in St. Petersburg, Russia; Sculpture By the Sea in Sydney, Australia; Artefact Festival in Leuven, Belgium; and throughout the US, UK, Europe and Canada. It has been featured in The Washington Post, The Huffington Post, and The Creators Project, and in publications such as Typoholic: Material Types in Design, Foundations of Digital Art and Design with Adobe Creative Cloud, and Elements and Principles of 4D Art & Design.

    The awards Alicia has received include a Direct Artist Grant from the Harpo Foundation, an Individual Artist Fellowship from the Maine Arts Commission, the Grand Prize in the Dave Bown Projects Competition, a TED2013 Fellowship, and artist residencies at Sculpture Space in New York and the Tides Institute and Museum of Art in Eastport, ME. She has given talks at TED2013 in Long Beach and TEDxDirigo in Maine, and spoken at numerous other conferences and universities around the world. Alicia was an Assistant Professor of Art at Bowdoin College from 2010-2014. She currently lives and works in Denton, Texas, where she is an Assistant Professor of Sculpture at the University of North Texas.

    Mike Fleming is an American conceptual artist whose work exaggerates the mundane, extending the familiar into the realms of the poetic and absurd. His work has been exhibited at festivals and institutions nationally and internationally, including the CAFA Art Museum in Beijing, China; the Triennale Design Museum in Milan, Italy; ISEA2012 at the Albuquerque Museum of Art and History in New Mexico; Artefact 2012 in Leuven, Belgium; Cyberfest 2012 in St. Petersburg, Russia; and Sculpture By the Sea in Sydney, Australia. Fleming received his MFA in Sculpture/Dimensional Studies from Alfred University in 2014 and a BS in Photography from Drexel University in 2003. He currently teaches Sculpture at University of North Texas in Denton, Texas.

  • Gordon Holden

    Trees, 2015
    Faux home trees, store-bought product and hand selected fabric
    70 x 36 x 36 inches each

    Courtesy of the artist and Paul Loya Gallery, booth S-106

    Gordon Holden remembers when cyberspace was a tender network of messages in bottles, and an internet presence could be secreted from parents like a cartilage piercing hidden behind a lock of hair. Poking around his site is less like scanning a resume than carefully turning over various tchotchkes on the bookshelves of a date—somehow, an image emerges. Through photography, collage, painting, sculpture, product collaborations, and web-based treasure hunts, Holden’s practice remains a sprawling, even romantic quest: "My internet self and my gallery self are still trying to link up and find each other." His visual and tactile mish-mashes are not born of Postmodern malaise but something more post-y: the plaintive retirement of hierarchies supplanted by an aegis of inclusivity, informed by nebulae of memories both personal and collective. Holden’s world is a reverse osmosis of pop with personal abstract apprehension. The word cool has been all de-clawed, and consumer is freighted with cynicism, but in Holden’s purview such concepts become Rubik’s cubes: slightly nostalgic cultural doo-dads to be re-arranged, messed with, and viewed from all angles, but in the end left unsolved. They look more beautiful that way.

  • Chris Jones

    Everyone Is Somewhere, 2015
    Book and magazine images, board, paper, polymer varnish
    96 x 48 x 48 inches

    Courtesy of the artist and MARC STRAUS, booth S-112

    Everyone Is Somewhere is a grand “apartment building” sculpture by British artist, Chris Jones. His three-dimensional and relief collaged artworks unlock vistas to extraordinary universes. Through his assembling of found and scavenged paper images from magazines and old books, he invents domestic apartment-like situations where each exposed unit provides its own narrative: windows into pockets of existence around us at all times but often hidden or just beyond the limits of perception. This work recreates the juxtaposition of uniformity and chaos, a community of unrelated existences unaware of each other, the grid being the only constant factor. The rooms inform one another directly and subliminally; things fall out of one room into another, an overflowing tub in one bathroom leaks water into the blocks below or smoke from a cigarette rises to the room above. The work is constantly engaging the viewer with discoveries. In the Sunday NY Times review of Jones' 2008 solo museum exhibit at The Hudson Valley Center for Contemporary Art, Ben Genocchio accurately summarized, "No reproduction can convey the experience of encountering this work. It creates its own environment, inspiring a sense of enchantment and awe, and the feeling persists the longer you hang around." Chris Jones is represented by Marc Straus Gallery, New York.

  • Kalup Linzy

    Katonya, the bride. Production still from Conversations Wit De Churen IX XI XII:  Dayz of Our Ego (2015). Courtesy of Kalup Linzy.

    On Tuesday, December 1st celebrated multi-disciplinary artist and former Guggenheim Fellow Kalup Linzy will debut Season 2 of his satirical art industry soap opera, As the Art World Might Turn during the Opening Celebration  in the PERSPECTIVES Lounge followed by a live performance by Linzy. www.kaluplinzystudio.com Tuesday, December 1 | 6:30pm

  • Jim Osman

    Corbu Bench, 2015
    Wood, sod, paint
    36 x 74 x 67 inches

    Courtesy of the artist and Lesley Heller Workspace, booth N-114

    Jim Osman’s Corbu Bench is inspired by the tiled lounge bench at Villa Savoye in Paris by Le Corbusier. His bench is between the bath and the bedroom and acts as a sitting/lying space but also creates a small scale architecture separating the two spaces with the bench acting as a threshold. Osman’s piece plays on that notion of place and separation of space. He has taken the general profile of Le Corbusier’s bench and added a small step on the left side to make it easier to get up onto. This small step also acts like a plinth so that when a person steps on it, he/she is taller and commands a vantage point. On the other side is a slated bench that allows someone to sit next to someone laying down creating a nexus of seating and interaction.

  • Frances Trombly

    Over and Under, 2013
    Hand dyed, handwoven rayon and cotton, aluminum scaffold
    162 x 72 x 48 inches

    Courtesy of the artist and Emerson Dorsch, booth S-100

    In her work Frances Trombly has focused on making textiles by hand to represent often ephemeral and disposable industrial objects. She began to pare down the role of detail and color in her 2010 series of handwoven canvas paintings, a shift that emphasized the sculptural and conceptual field of her work. The minimalism also allowed space to consider the importance of the breaks in her textile patterns. In Over and Under (2013), Trombly’s largest installation to date, a floor-to-ceiling scaffold is the framework for a handmade canvas which is rhythmically woven throughout the structure, visually echoing industrial fabric production. Variables within the fiber hint at its fabrication process: irregularity, asymmetry, glitches, pulls, and tears reveal the manual labor of weaving, standing in contrast to the industrial perfection of commercial cloth and emphasizing the artist’s intimacy with the material. First shown at Locust Projects, Miami’s influential alternative space, Over and Under poses a direct challenge to her studio practice, opening up a new relationship with the physicality of the loom by defying its confines. Expanding on Trombly’s interest in the contrast found in handmade objects that normally are mass-produced, Over and Under focuses on the cloth itself, re-introducing color and introducing the drape of the cloth. The work contains a timeline of its own construction, a transcription of the gestures of working and constructing in space. Pushing the size of production transforms the interactions between body, object, and machine in space, and asks the viewer to consider these shifts as well.

  • Marion Wilson: MLAB/The Mobile Field Station

    Sphagnum, 2015
    Digital print on painted mylar

    Courtesy of the artist and Frederieke Taylor Gallery, booth S-204

    Marion Wilson’s art practice pays attention to things that are frequently overlooked- from starting a business with three homeless men on the Bowery, to renovating a crack house into a neighborhood art museum, to her current fascination and careful observation of moss. Moss interests Wilson as the first form of plant life, the plant that is most overlooked scientifically, lives on every continent and is incredibly varied when looking at is close up. Wilson prints stunning digital photographs on treated mylar sheets (seen in Booth S-204) of microscopically enlarged moss species. Additionally in the In The Mobile Field Station, a renovated RV, Wilson invites the public to duplicate her studio practice. Wilson travelled in the refurbished 1984 American Eagle RV from Upstate New York to Pulse Miami 2015 to launch a national tour of this viewing station for moss. Wilson works in partnership with Dr. Robin Wall Kimmerer, expert bryologist and writer of “Gathering Moss: A Natural and Cultural History of Mosses”. Wilson’s digital prints and The Mobile Field Station as a public lens celebrates attentiveness to place, smallness, and indigenous ways knowing which Wilson believes is ecological and spiritual; scientific and artistic. The original renovation of the RV was led by nine art and architecture students in a sculpture seminar taught by Marion Wilson at Syracuse University in 2008 into its first iteration which was called MLAB.   mobilefieldstation.wordpress.com

  • Jonathan Calm

    Scudder Towers Down, 2008
    Video with sound on three stacked vintage monitors
    57 x 36 x 19 inches
    Courtesy of the artist and LMAKprojects, NY

    Public housing and its diverse socio-historical manifestations is the subject of my recent work. It was the backdrop of my childhood, living seven stories up in the Linden House projects of East New York. I remember those stairs as a test of courage, a passage to get through as quickly as possible before something bad could happen. It was a daily reminder of a simple truth — architecture matters, the core premise of my work over the last ten years.


    I begin with research, sifting through archival footage, contemporary news accounts, and local mythologies to uncover stories of life in similar places. I talk to the people who live there, traveling to meet them in neighborhoods outside the economic and cultural centers of New York, Chicago, London, Paris and Berlin.


    Modernist ideology permeates these developments, self-contained capsules set apart from the surrounding communities by design. Untitled (Stage) is a detail from le Corbusier’s Cité Radieuse (Radiant City) in Marseilles, conceived as a utopian housing complex but recognized as the prototype of public housing to come. Residents enjoy access to groceries, recreational facilities, medical and child care without so much as leaving the building.


    Subsequent iterations reveal flaws in the principles behind these theoretically efficient human containers. Just because you can accommodate large numbers of people in such fashion doesn’t mean you should. **The Parisian Ville de Nanterre projects echo the same problems as Chicago’s Ida B. Wells housing development: joblessness, poverty, drug addiction, crime.


    My latest series uses black and white imagery to reduce visual “clutter” and isolate architecture as a skeleton beneath the dysfunction. The Chambers series depicts quarters in urban zoos, environments contrived to celebrate the lives they constrain. The Reconstruction series dissolves exalted figures into humble places, pairing popular and historical found images to register present day reverberations of African American history from 1865 and after.


    I present these subjects to reframe a problem, to move from a discourse of victimization to one of design intent. The accumulation of images offers the promise of insight—a way to make visible underlying patterns of thought that give rise to failed communities—and proposes new possibilities for rising populations transitioning from rural environments into megacities worldwide.

  • Richard Clarkson

    The Cloud, 2013
    Hypoallergenic polyester fiber, speakers, microprocessors, LED lights
    24 x 14 x 13 inches (dimensions variable)
    Courtesy the designer and the SVA Galleries Booth C15

    Developed while he was a student in MFA Products of Design at the School of Visual Arts (SVA), Richard Clarkson’s The Cloud is an interactive lamp that challenges conventional notions of what a lighting fixture can be. Using motion detectors and color-changing lights, the Cloud detects a user’s presence to mimic a thundercloud in both appearance and behavior. The Cloud also features a powerful speaker system from which the user can stream music via any Bluetooth compatible device.

    Advances in physical computing and interaction design hardware over recent years have given rise to a new breed of smart objects. The Arduino prototyping platform has enabled designers to go inside the ‘black box’ of electronic devices. Meanwhile, inexpensive and easy-to-program microprocessors allow designers to better understand the nature of electronics, and thus aid in the creation of new and meaningful interactions.

    The Cloud partakes in new kind of design, sometimes described as maker culture, whereby ideas and process are shared for others to use and expand upon. The Cloud’s code is available to the public to use and improve at no cost, helping to provide the blueprints for the next generation of smart objects.

    School of Visual Arts has been a leader in the education of artists, designers and creative professionals for more than six decades. With a faculty of distinguished working professionals, dynamic curriculum and an emphasis on critical thinking, SVA is a catalyst for innovation and social responsibility. Comprised of more than 6,000 students at its Manhattan campus and 35,000 alumni in 100 countries, SVA also represents one of the most influential artistic communities in the world. For information about the College’s 32 undergraduate and graduate degree programs, visit sva.edu.

  • Chargaux

    Charly and Margaux, popularly known as Chargaux are a Brooklyn based art collective. As a string duo who both compose and perform original works they have altered the reputation of classical instruments and the people who play them. Utilizing elements of visual art and creative fashion, they continue to pioneer a new breed of musicianship. Chargaux will perform during the Young Collectors Cocktails, Thursday, March 5, 6pm-8pm (by invitation only).

  • Jasmin Charles

    Tea Party Dress, 2015
    Acrylic on canvas
    24 x 24 inches
    Courtesy of the artist and Catinca Tabacaru gallery, New York, NY

    Jasmin Charles recognizes each of her works as emotion expressed by color, rhythm, and simple geometry. Using synaesthesia, each work is uniquely defined with human qualities that communicate sound through silence. The layers are complex like any human is, and the technique is as patient as the creation of life.

  • Lauren Fensterstock

    Stalagmite, 2015
    Resin, found objects, paint
    4 1/2 x 5 x 4 1/2 feet
    Courtesy of the artist and Sienna Patti Gallery, Lenox, MA

    Lauren Fensterstock’s newest body of work centers on her interest in caves, spanning a sweeping array of human history from the Prehistoric to the metaphoric. Fensterstock has been widely recognized for merging incongrouous historical influences as the trademark of her cut paper pieces. This newest body of work brings together the intricate shellwork of ornamental 18th century garden grottos with the organic geological accretion of natural caves. Wrought in her signature dark hue, these new mixed media assemblages take the form of ornamental stalactites and stalagmites enveloped in a thick surface of grey rubber. In turns, they evoke an aristocratic past, a primordial mystery, and an uncertain prediction for the future.

  • Carla Gannis

    The Garden of Emoji Delights, 2014
    Archival c-print mounted on plexi with semi-gloss front lamination
    84 x 156 inches
    Courtesy of the artist and TRANSFER, Brooklyn, NY

    In ‘The Garden of Emoji Delights’, Gannis contextualizes Emoji within the iconographic lineage of the works of Hieronymus Bosch, re-inscribing his triptych by using the newsecular, pop vocabulary of signs and digital symbols. These symbols are as pervasive now as religious symbology was in the 15th and 16th centuries. According to Carla Gannis, Emoji add a new flatness to the iconography of the past, emptying it of controversy and replacing it with something akin to Murakami’s Superflat aesthetic questioning the “sins” of our contemporary consumer culture.

  • Robert Montgomery

    Wooden Houses, 2013
    Oak, polymer, 12 Volt LED lights
    79.125 x 78.875 x 4.125 inches
    Ed 1/5
    Courtesy of the artist and C24 Gallery, New York, NY, Booth A13


    Robert Montgomery’s signature light piece follows a tradition of conceptual text art, to which artists such as Jenny Holzer and Lawrence Weiner also subscribe. Although often linked with his London predecessors of the YBA generation, Montgomery stands out by drawing from examples of public interventionist strategies and brings a poetic voice to the lineage of text art. The often pacifying nature of his poetry suggests a steady faith that humanity can heal the ecological and emotional trauma of our times through collective awareness and effort, with a lyricism that recalls poets like Philip Larkin and Sylvia Plath.

    Essential to Montgomery’s Wooden Houses On Land, which is made of environmentally friendly LED solar powered lights and materials, is the manner in which light and form converge with language. His direct yet tender approach engages the viewer in an experience that is enhanced by the communal quality of work.

    “I have a fantasy about a really big, simple wooden house on the land. I think about that the whole time kind of his really simple, humble yet sublime, silent, hilltop retreat….I think I’m the kind of person who likes to be in cities and think about country sides.” –Robert Montgomery

  • Danny Rolph

    Attic 3, 2014
    Oil on  canvas
    60 x 40 inches
    Courtesy of the artist and 532 Gallery Thomas Jaeckel, New York, NY

    Danny Rolph’s recent paintings possess a dissonant quality accentuated through vivid color and gestures that have a clearer association with forces such as motion, velocity and acceleration. The painted marks loop and fragment across the picture plane, building a psychological, transgressive pleasure that pushes and pulls the viewer across the surface. New elements of “Americana” embodied in the ruby lips of Dragster6 and the artist’s blow heater in JV3 are used as a way of breaking down the “fourth wall” between the artist and viewer and offer a nod to the influence of Jasper Johns and Johannes Vermeer upon his practice.

  • Aaron T Stephan

    28 Columns, 2014
    Painted polycomposite
    8 x 14 x 14 feet
    Courtesy of the artist and Sienna Patti Gallery, Lenox, MA

    Aaron T Stephan’s 28 Columns consists of an organized stack of classical Greek columns.  These simple columns carry the accumulated weight of over 3000 years of history from the Parthenon to faux Greek villas in middle-class suburbs across America.  The overall form itself, reminiscent of Richard Serra’s Torqued Elipses, is a graceful accumulation of its parts.  The result is a kind of contextualized minimalist sculpture that – instead of claiming complete autonomy – embraces the historical complexities of material and form.

  • Rachel Mica Weiss

    Metallized Vault-way, 2015
    Wood, thread
    Courtesy of the artist and Uprise Art

    Rachel Mica Wiess is an installation artist and sculptor whose practice is rooted in the craft of weaving. She creates site-specific architectural interventions as well as sculptures that combine textile languages with cast forms and wood constructions.


    In Metallized Vault-way, Weiss has used tencel and metallic embroidery thread to create double archways for the PULSE NY lobby. The resulting ceiling and wall panels, pulled taught and seemingly woven into place, were create by hand-stringing tens of thousands of yards of thread back and forth.


    The thread panels, which simultaneously fan open and close hut on both sides of the lobby, provide fair-goers with an opening and closing ritual. Made of X’s and angles that interrupt the right-angled geometry of the building, the installation recalls and reimagines the arcs and buttresses of Gothic rib-vault ceilings, transforming the Metropolitan Pavilion into luxurious environment. And, as one moves past, the thread appear to vibrate and shit, creating an experience that is both pleasurable and disconcerting.

  • Jamie Zigelbaum

    Pixel, 2013
    Glass, corian, LEDs, electronics, software
    39.4 x 39.4 x 3.1 inches
    Courtesy of the artist and TRANSFER, Brooklyn, NY

    Pixel is an interactive light installation activated by human touch. Everywhere, pixels radiate from behind glass—they are tiny, formless objects existing at a remove from our bodies; just beyond our grasp. Pixels are the ambassadors to the digital world, representing all that we have wrought there through carefully choreographed fluctuations: pulses of current that result in changes of color which in aggregate form graphics and with time produce the illusion of motion. Ubiquitous and invisible, pixels show us everything.