No Longer and Not Yet was an exhibition highlighting a variety of art works that represent true and lived experiences from 2020 and reflect creatively upon the artists’ thoughts, hopes, and frustrations. This virtual and physical exhibition took place at Das Schaufenster Gallery in Ballard, Seattle, Washington in fall/winter of 2020. The virtual-electronic display continued on the Goethe Seattle Pop Up site in the months following.
Ten artists were chosen by curator Hasaan Kirkland, Arabelle Liepold (Goethe Institute) and Ken Winnick (Visual Cognetics).
The exhibition attempts a visual solution to heal the hearts and minds of its local and global communities who are currently enduring psychological trauma, social unrest, loss of normalcy, and a contemporary version of the bubonic plague.
The exhibition attempts a visual solution to heal the hearts and minds of its local and global communities who are currently enduring psychological trauma, social unrest, loss of normalcy, and a contemporary version of the bubonic plague.
FROM THE VIDEO DISPLAY
Influenced by national and global catastrophic events, two grants were written and funded. One through King County 4Culture, the other through Goethe Pop Up Seattle.
These grants allowed me to create a space to bring people together to share personal lived experiences, and which could act as a catalyst toward building a common world.
In my research, I turned to excerpts from Hannah Arendt and Vilém Flusser, two mid-century German speaking Jewish philosophers, for perspective and insight.
From reading, I was inspired to use dialogue and art as the vehicle to create a salon panel discussion titled Unsettling the Apparatus, and a digital and physical exhibition titled, No Longer And Not Yet.
These actions, I hope, will in some small way help us to navigate our collective journey from the no longer to the not yet.
Ken Winnick, Seattle
Curatorial Statement, by Hasaan Kirland
With profound resilience and moments of weariness, John Affolter and the inspiring brilliance of the digital artists of No Longer and Not Yet—Cassie Arnold, Amy Usdin, Georgina Lewis, Jeffrey Smith, Quincey (Makayla) Miracle, Chelsea Wrightson, John Swartwout, Jeremy Davis, Ceci Cole McInturff, and Daniel Brickman—all have created a delightful, smart, and responsive spectrum of three-dimensional art that keenly investigates insightful ways of surviving the looming presence of the year 2020.
With an array of media from palm husk, hemp cord, steel wire, resin, fabric, string, colored pencil, and gold leaf, the eleven juror-selected local and national artists have passionately crafted a body of work that will be displayed both digitally online and at the local gallery Das Schaufenster, operated by German artist Anna Mlasowsky in Seattle’s Ballard neighborhood.
The Curator’s Choice artist John Affolter and his work Maga Ghost Flag deliver a compelling visual critique, metaphorically representing diverse ethnic citizens, a fragile American democracy, and the phantom-like absence of “accuracy” symbolized in the intentional absence of the American flag’s true colors: red, white, and blue.
No Longer and Not Yet visually responds to iconic philosophers Hannah Arendt and Vilém Flusser with contemporary statements that tell stories with harnessed sentiments, detailing the concept of the knowing “self” that either lifts the voices echoed in our collective humanity or becomes lost in the atmosphere of confounding social dynamics and historic constriction.
No Longer and Not Yet visually responds to iconic philosophers Hannah Arendt and Vilém Flusser with contemporary statements that tell stories with harnessed sentiments, detailing the concept of the knowing “self” that either lifts the voices echoed in our collective humanity or becomes lost in the atmosphere of confounding social dynamics and historic constriction.
This exhibition is presented by Ken Winnick/Visual Cognetics and Goethe Pop Up Seattle, curated by Hasaan A. Kirkland/Kairos Industry LLC, and supported in part by a grant from 4Culture.
VIEWS OF THE SHOW "NO LONGER AND NOT YET" FROM THE SIDEWALK OUTSIDE THE DAS SCHAUFENSTER GALLERY IN BALLARD, SEATTLE, WASHINGTON
(Click on any image to view a larger version)
CURATOR'S CHOICE EXHIBIT WITH MAGA GHOST FLAG, BY JOHN AFFOLTER
Flag sewn from strips of canvas with the emphasis on the different color threads used to bind the flag as a metaphor representing what holds America together are the different ethnic citizens.
Moch pine first aid cabinet with hinged doors and one two shelves supporting 5 pre WWII rusted tin cans that have been opened by methods involving a knife as opposed to a can opener suggesting urgency. The cans symbolize the empty preparation needed when the nation accessed the first aid cabinet.
Renaissance "Triptych" like truck hood dialectic confronting what one should honor in a society and the assault to dishonor it. When folded, one sees a matrix of the word lies. When unfolded, one sees the words of the 8th commandment, Thou Shalt Not Lie. The inside protects itself from the outside.
2" x 1" x 1/4" low fire glazed hand made tiles stacked to form a 7' column of lies.
Christian cross penetrated with pencils that contain the words Lies and Truth secured in a base made of pin pearl erasers.
Taken from a news conference where Donald Trump gestured with his hands as if holding a gun while announcing that he could shoot someone on 5th Ave. NYC and it wouldn't hurt his popularity.
Detail of COVID work with one cabinet door open and one closed.
THE IMAGES BELOW WERE SUBMITTED BY ARTISTS FOR DIGITAL PRESENTATION ON THE SIDEWALK-VISIBLE VIDEO DISPLAY.
For more info about these artists, click here.
Soft Follicle
Soft Follicle
Soft Follicle
Soft Follicle
An intimate pattern of action: weaving this sable palm husk triggered a powerful identification and projection of entire body and mind. Like skin, it became forgiving, repetitive stitching became healing, reminding like step after step to keep going to clarify and make whole my self and my country.
An intimate pattern of action: weaving this sable palm husk triggered a powerful identification and projection of entire body and mind. Like skin, it became forgiving, repetitive stitching became healing, reminding like step after step to keep going to clarify and make whole my self and my country.
An intimate pattern of action: weaving this sable palm husk triggered a powerful identification and projection of entire body and mind. Like skin, it became forgiving, repetitive stitching became healing, reminding like step after step to keep going to clarify and make whole my self and my country.
An intimate pattern of action: weaving this sable palm husk triggered a powerful identification and projection of entire body and mind. Like skin, it became forgiving, repetitive stitching became healing, reminding like step after step to keep going to clarify and make whole my self and my country.
An intimate pattern of action: weaving this sable palm husk triggered a powerful identification and projection of entire body and mind. Like skin, it became forgiving, repetitive stitching became healing, reminding like step after step to keep going to clarify and make whole my self and my country.
I'm Afraid of Dying was made directly following a very traumatic event in my life. Using the vehicle of candy (Tic-Tacs) I confront society's -and my - very real fear of death. Each stele (container) is reorganized around a single dead candy. All other react to it, and themselves.
I'm Afraid of Dying was made directly following a very traumatic event in my life. Using the vehicle of candy (Tic-Tacs) I confront society's -and my - very real fear of death. Each stele (container) is reorganized around a single dead candy. All other react to it, and themselves.
I'm Afraid of Dying was made directly following a very traumatic event in my life. Using the vehicle of candy (Tic-Tacs) I confront society's -and my - very real fear of death. Each stele (container) is reorganized around a single dead candy. All other react to it, and themselves.
C/O (Care Of)
final pick
C/O (Care Of)
Created by pouring plaster into single-use plastics, then composing the works inside the frame and pouring more plaster around the forms. Oil and colored pencil used on top of the plaster and finished with a matte varnish.
Created by pouring plaster into single-use plastics, then composing the works inside the frame and pouring more plaster around the forms. Oil and colored pencil used on top of the plaster and finished with a matte varnish.
Created by pouring plaster into single-use plastics, then composing the works inside the frame and pouring more plaster around the forms. Oil and colored pencil used on top of the plaster and finished with a matte varnish.
Created by pouring plaster into single-use plastics, then composing the works inside the frame and pouring more plaster around the forms. Oil and colored pencil used on top of the plaster and finished with a matte varnish.
Created by pouring plaster into single-use plastics, then composing the works inside the frame and pouring more plaster around the forms. Oil and colored pencil used on top of the plaster and finished with a matte varnish.
Martyr
Martyr (Detail)
Martyr (Detail)
Martyr (Detail)
Feral bag for hope
Feral bag for hope
Feral bag for hope
Feral bag for hope
Feral bag for hope
Cotton and sisal woven on repurposed rope horse fly nets. NFS.
Cotton and sisal woven on repurposed rope horse fly nets. NFS.
Child's Social Distance Sweater (6ft apart)
Child's Social Distance Sweater (6ft apart)
FROM THE VIDEO DISPLAY, CONTINUED
I deeply thank all the digital artists and the selected Curator’s Choice artist, John Affolter, for their willingness to apply and share their thoughtful artistic reflections.
The visual experience of the No Longer And Not Yet exhibition is made true by their community engagement and creative excellence.
Special Thanks
I would also like to especially thank Arabelle Liepold, Managing Director of the Goethe Pop Up Seattle, Hasaan Kirkland of Kairos Industry LLC, Anna Mlasowsky of Das Schaufenster Gallery, and the staff at 4Culture for their collective vision, creativity, partnership, flexibility, supportive sponsorship, and tireless engagement. They all played an essential role in bringing the No Longer And Not Yet exhibition to life.
Sincerely,
Ken Winnick
Cultural Producer, Grant Writer
www.visualcognetics.com