per•verse /pɚˈvɜrs/   adj. 

  •  willfully determined or disposed to go

  • counter to what is expected or desired; contrary

  • wayward; cantankerous

  • persistent or obstinate in what is wrong

  • turned away from what is right, good, or proper

Featured Artists:

Graham AndersonJohanna BresnickBernadette DespujolsBrian GalderisiRobert GregsonCrystal HeidenRobert Chase Heishman and Megan SchvaneveldtMeredith JamesKyle KearsonJuliana Cerqueira LeiteEsteban Ramón PérezRobert NarracciJeff OstergrenJessi ReavesChris Ruggiero and Nina Yuen.

Artspace is pleased to present Perverse Furniture, a group exhibition that upsets conventional notions of furniture to explore a range of materially expressive and emotionally intelligent “designs for the body”.  Organized on the 100th Anniversary of the Bauhaus, this exhibition explores how three generations of U.S. based artists grapple with the German school’s legacies and ideological roots.  The artists include: Graham Anderson, Johanna Bresnick, Bernadette Despujols, Brian Galderisi, Bob Gregson, Crystal Heiden, Robert Chase Heishman and Megan Schvaneveldt, Meredith James, Kyle Kearson, Juliana Cerqueira Leite, Esteban Ramón Pérez, Robert Narracci, Jeff Ostergren, Jessi Reaves, Chris Ruggiero and Nina Yuen. 

The practices on display share Bauhaus’s core concern to understand humankind’s place among machines.  But rather than strive for the possibility of a perfect marriage between art, technology and industry, they interrogate the ways that objects serve our physical and psychological needs. Looking broadly at overlaps in art, architecture and design today, the works are aesthetically antithetical to the iconic objects of Bauhaus design.1  In their quests to humanize design, they are inefficient, weepy, oddball, excessive, loud, legible, performative, humorous, participatory, kitsch, impenetrable, impractical, non-functional, overbearing, multicentered, uneven, empathetic, multivalent, and sometimes so perverse as to be nearly alive.   

Artspace’s galleries at 50 Orange Street are especially fitting for this show, as they formerly housed Chamberlain’s Furniture, a Civil-War Era storefront and furniture factory.  Even from the outside, viewers can glimpse at the surprises within.  Unpredictable elements bubble up from under the carpets and upholstery in works by Ramón Pérez, Ostergren, Cerqueira Leite, and Reaves, whose broken tools for “living-with” resist the psychological ill-effects of past utopias, and celebrate bodies at rest and in motion. 4  Industrial thrones, cagey mega complexes, obtrusive paneling, and wooly underbellies in works by Kearson, James, Anderson and Despujols, defy our perspectives, turning the tables on power structures of functional design.  Aspirational assemblages by Galderisi, Heiden, Bresnick, and Chase Heishman and Schvaneveldt are fraught with tension, absurdity and laughter, signaling that there is hope. 

As the 100th Anniversary of Bauhaus is celebrated by major institutions around the world, this exhibition seeks to recognize how the school’s design principles, utopian philosophies and promise of new beginnings have played out at the scale of the city, specifically in New Haven. 2  From the 1930’s to the 1970’s, New Haven became a laboratory for well-known Bauhaüslers in exile, who occupied teaching positions at Yale and nearby Harvard, as well as schools further afield in Chicago, the woods of North Carolina and California.3  Their architectural contributions command attention: among them, the Marcel Breuer building, curiously perched on 1-95, the Paul Rudolph parking lot, which serves Bowtie Cinemas and businesses on Temple Street, and “The Whale” hockey rink built by Eero Saarinen.  These urban interventions rejected America’s Beaux Arts tradition practiced in the field and taught in universities.  Less obvious are some of the building’s origin stories, filling in bulldozed and reorganized sections of the city under Mayor Richard C. Lee’s aggressive urban renewal campaign of the 1950s and 1960s, often times with little to no community buy-in.

At the core of the exhibition, a specially curated zone explores the mixed reception and nuanced effects of Bauhaus-inspired modernist design in New Haven from the 1950s to today.  One section, curated from materials in the Photo Archives and Manuscripts at the New Haven Museum by historian Jason Bischoff-Wurstle, accounts for some of the bizarre spatial mysteries we encounter throughout the city. This section also tells lesser-known stories of early city planning and the implementation by the unique confluence of public and private entities in the remarkable years after World War II. Another section, organized by Robert Gregson, addresses alluring encounters with the hidden glass prisms of residential Connecticut modernism. A third section looks to Yale University’s foundation course on “The Chair” as an example of how American students of architecture are still taught lessons in direct material engagement, scalability and authorship via the Bauhaus tradition of “learning by doing”.

In 1911, the French philosopher Henri Bergson wrote, “We shall see that the human intellect feels at home among inanimate objects, more especially among solids, where our action finds its fulcrum and our industry its tools; that our concepts have been formed on the model of solids; that our logic is, pre-eminently, the logic of solids.”6  For Bergson, our comfort with inanimate objects leads to a dense web of making discovery after discovery, a process which makes it impossible to determine where one discovery ends and the next begins, or where the animate ends and the inanimate begins. Here, human and object are fully enmeshed. 

This exhibition is co-curated by Artspace Curator/Gallery Director, Sarah Fritchey, and New Haven based architect/artist, Aude Jomini.  It was made possible by the generous support of The Andy Warhol Foundation of the Arts, New Haven Museum, Yale University School of Architecture, and Friends of Artspace.

Supported at its Ends—Hanging by its Weight - LAZO

Loiosaida, NYC 

Jan 29, 2019 

A line that loops around itself holds things in place—pull its ends and it opens into a line again. Geographies are inscribed with lines, imagined and physical, that shift naturally and from human intervention. How do we create ties across continents?

In geometry and physics, a catenary is the natural curve created by gravity acting on a rope or chain when suspended from its ends. Does an egg cupped between two hands hold the same strength as a bridge?

A rope can be knotted and tied, gestures of gathering and interweaving. Ancient Andean cultures developed the Quipu, a system of knotted strings used to keep records, communicate information, and represent traditional stories and poetry.

Perhaps it is through these elemental forms that we can continue to navigate distance.

Supported at its Ends—Hanging by its Weight is the first exhibition for LAZO (in Spanish: ‘link, tie, or knot), a platform and resource for contemporary artists of Latin American and Caribbean descent. The show, organized by Claudia Cortínez and Alva Mooses, brings together fourteen artists based in NYC and throughout the Americas and is part of a series of events to be hosted in the coming months at The Loisaida Center.


Nov 16th - Dec 14th, 2018
Featuring NARS Fall residency artists
William Miller (USA) | Charlotte Lagro (Netherlands) | Bernadette Despujols (Venezuela) | Leah Hewson(Ireland) | Shihori Yamamoto (Japan) | Rhonda Weppler (Canada) | Erin Gleason (USA) | Claudia Cortinez (USA) | Linda Loh (Australia) | Elizabeth Moran (USA) | Jemila MacEwan (USA) | Jean-Pierre Mot (Canada) | Miranda Blennerhassett (UK)  Frédérique Ulman-Gagné (Canada) | Sanié Bokhari (Pakistan) | Valérie Hallier (France)


NARS is pleased to present Sixteen Memos for the Next Millennium, an exhibition featuring the works of our 2018 Season IV artists-in-residence. The exhibition takes its title from Italo Calvino’s ‘Six Memos for the Next Millennium,’ a series of Charles Eliot Norton Poetry Lectures he was invited to give at Harvard University over the course of the academic year between 1985-1986 regarding the literary values he identified as being of most importance for the coming millennium. He had intended to deliver eight lectures in total, but at the time of his departure to Massachusetts, he had written only five of them, which are teeming with references to stories of folklore, mythology, philosophical thought, etc. The sixth, his wife Esther Calvino revealed in the forward of the book, was planned to refer to Herman Melville’s story of ‘Bartleby,’ the scrivener who ‘preferred not to.’

Calvino denoted the values as follows: Lightness, Quickness, Exactitude, Visibility, Multiplicit

And the 6th was intended to be ‘Consistency.’ The exhibition as an adaptation of Calvino’s poetic values refers to any type of poetic communication, whether in the sense of the literary, the musical, and more specifically in this case, the visual. These values resonate across the multi-disciplinary practices, mediums, and concepts in which the Season IV artists in residence at NARS have engaged with as part of their creative processes as we transition into the new year, and toward the end of their residencies.

2018 Florida Biennial 

September 14 - October 21, 2018

The 2018 Florida Biennial features 68 works by 30 artists who were selected by juror Sarah Fritchey from entries submitted to the Art and Culture Center/Hollywood. The exhibition opened on Friday, Sept. 14 with the announcement of awards for the Juror’s Pick, Edison Peñafiel, and Honorable Mention, Lisa Rockford. 

This ninth edition of the Center’s Juried Biennial received applications from 291 artists living in 85 cities throughout Florida. In all, juror Sarah Fritchey reviewed 2,050 works from artists working in any media. The 2018 Florida Biennial focuses on exploring multicultural identities, discussing ecological issues, and imagining a robust cultural climate for Florida within the global economy.


Maria Barbist Aurora Molina, Julie Davidow Desireé Moore, Elaine Defibaugh Sharon Norwood, Bernadette Despujols Jee Park, Rigoberto Diaz Edison Peñafiel 

Michael Dillow Lisa Rockford, Nicole Doran Donna Ruff, Santiago Echeverry Maricel Ruiz, Rosa Garmendia Troy Simmons, Lorna Galloway Jonathan Stein, Lisa Haque Bethany Taylor, Alex Ibsen Star Trauth, Elite Kedan Amber Tutwiler, Kandy Lopez Jill Weisberg, Cynthia Mason Almaz Wilson

IK Projects

Solo Show - 2018

Lima, Peru  


FREE! interrupts and activates public spaces in the shopping center based on three core principles: FREE! Public, FREE! Play, and FREE! View.  Each sector addresses notions of healing, empathy and connectivity; to inspire, reflect and encourage participation from the public.

FREE! is a convergence, a message, a uniquely immersive experience.
Miami-based cultural producer Anthony Spinello, founder of gallery and creative house Spinello Projects, conceptualized FREE! with investigations into nominal concepts of race, gender, nationality, sexuality, and religion through experiential and participatory installations, video and performance. Borders and divisions, both physical and ideological, are explored by these artists. Lines are endlessly drawn, redrawn, erased and replaced in an effort to create deep rifts in our society and culture - and yet lines may also be wires, threads, streams and scars which can activate, bind, and bring us together. FREE! reimagines the traditional art fair model by providing free access to the public and space to create site-specific interventions in a commercial, non-traditional venue. Nothing is bought or sold, in opposition to object-driven consumerism.

Participating artists: Troy Abbott, Nathalie Alfonso, Elysa D. Batista, Cassils, Patty Chang, Franky Cruz, Rev. Houston R. Cypress, Francisco De La Torre, Cara Despain, Bernadette Despujols, Giannina Dwin, Genevieve Gaignard, Guillermo Leon Gomez, Micol Hebron, Amanda Keeley, Sinisa Kukec, Taja Lindley, Justin H. Long, Carlos Martiel, Wangechi Mutu, Tameka J. Norris, Michelle Lisa Polissaint, Cheryl Pope, Michele Pred, Emanuel Ribas, Norberto Rodriguez, Emilio Rojas, Stefan Roloff, Misael Soto, Naama Tsabar, Antonia Wright, Octavia Yearwood, and Slim 007. 



Bakehouse Art Complex – Swenson Gallery 2018


To coincide with the recent feminist uproar, we see femininity and feminism are reshaping themselves through the gaze of society, consumerism and marketing.  .  Nevertheless, we are still constantly faced with of mutilation, alienation and rejection in relation to our own bodies, which brings many different readings on how women perceive themselves.
Throughout history, women have had a complex relationship with their bodies and the notion of self that keeps on mutating into different realms.


For Still Lives, Amalia Caputo, Bernadette Despujols and Tamara Despujols, suggest a selection of works that would be connecting through different strategies, ideas of how we distance, merge or reject our SELF from our BEING. The fact that mostly we find in our body a self that does not seem to match what we imagine it should be or vice-versa. We will present works that on the one side speak about the notions of hedonism, adoration, alienation, transformation and negation.