Monica Bonvicini, whose super-potent wind machine alarmed the neighborhood in which it was shown last year in Berlin, will reveal a new site-specific installation.
B&R Projects, an architectural firm, proposes an underground monument to the Sandhogs who died while excavating Manhattan’s tunnels.
Olafur Eliasson, known for his poetic simulations of natural phenomena, interprets the lighthouse’s beam as a replication of the horizon line, nature’s perfect form and tool for navigation.
Overflow will air Fischli & Weiss’s famous KanalVideo, which features found footage of a camera traveling through an underground sewage network. Disaster would ensue were these serpentine tunnels to become blocked, yet they remain hidden in the dark, the city’s own entrails, subordinated to the ruling principles of hygiene. The KanalVideo takes the mind and its aspirations to panoptic vision on a chthonic trip through the mechanics of waste circulation.
The all-male Austrian collective Gelatin tantalized us last summer in the courtyard of P.S.1 when they frolicked about in a kiddie’s pool sporting bikinis; next they unveiled Suck and Blow, in which the viewer was sucked into a giant orifice made out of black garbage bags that first contracted and then expelled him impersonally. In Overflow the young men will subject us to a new site-specific installation.
Sculptor and designer Elisa Jimenez has cut, sewn and burned her clothes on the bodies of Shalom Harlow, Courtney Love, and Parker Posey, to name a few. In a special performance on opening night starring up-and-coming actress Tara Subkoff, Jimenez will explore the rebirth and regeneration aspects of fluid.
Assembling her usual paraphernalia of guns, chicks, and odd phenomena, Josephine Meckseper, artist and creator of Fat Magazine, has created a special edition of her magazine for Overflow.
In a piece entitled Hallway-Tubular Cycle, Jeff Nelson sculpted the interior of a giant wave. He now takes a vertical approach to the circular form in a model that proposes to create a hole in the Hudson River.
Ecologically-sensitive Nils Norman heads the theme up from the left, creating a model to protest the development of Hudson River Park.
In a relay of simulated flow, Gabriel Orozco projects a still image of a decorative waterfall taken from a Chinese restaurant.
Randall Peacock’s architectural office environment circulates water between a desk and garbage can to the background noise of a baseball game, deploying his hallmark interaction of stasis and stimulation.
And finally, Rudolf Stingel uses paint as an obfuscating fluid in his Untitled video. Inserting a series of photographs behind a glass of clear water, the artist repeatedly injects orange paint into the water, clouding up the space between the image and the viewer. Unfurling to a distorted Jimi Hendrix soundtrack, this drama poignantly and humorously explores the meaning of turgidity and torpor as they play themselves out in a love affair.
