MICROSCOPE Gallery is a new art space specializing in the works of film, video, sound and other time-based artists. The artists we present are independent, radical, experimenters and risk takers who range from the emerging to recognized pioneers and innovators.

MICROSCOPE also offers an ongoing screening, performance, and lecture series complementing the exhibitions as well as programs that showcase other artists.

Conceived in the heat wave of 2010, MICROSCOPE is the realization of a recurrent dream, dissolving the barriers between the white walls of the gallery and the darkened setting of the cinema/concert hall/theater space.


Participating artists:

Aptly described as a media bricoleur, Ahwesh’s work combines a variety of experimental narrative and documentary genres, often with improvisational performance. Utilizing found footage, noise, the arcane and a variety of obsolete, low end technologies Ahwesh’s work is primarily an investigation of cultural identity and the role of the female subject.  Ahwesh’s practice insists on political and social topicality, handled with theoretical rigor, while at the same time using humor and the absurd in an open embrace of the inexplicable.  Subjective experiences of the individual, the mundane and discourses of non-closure are subjects of her work. Feminist theory and film theory are applied to traditionally female-gendered themes-home movies, family drama, relationships and confessions-while turning the conventions of realism on end.
Peggy Ahwesh came of age in the 1970’s with Super 8mm amateur filmmaking, feminism and the punk underground in Pittsburgh. She is a graduate of Antioch College.  Currently, Ahwesh is Chair of the Film & Electronic Arts Program at Bard College. Her film and video work is distributed by EAI, New York and Lightcone, Paris.  Ahwesh’s films Martina’s Playhouse (1989), The Deadman (made with Keith Sanborn, 1989), Strange Weather (1993) and Nocturne(1998) are in the permanent collection of the MOMA. Ahwesh has received grants from the Jerome, Creative Capital and Guggenheim Foundations and NYSCA.  In 2000 she received the Alpert Award for film/video.

Michel Auder, born in Soissons, France, and was made to join the military at a young age as a photographer during the Algerian war. Returning to Paris, he started to make films. Later he joined a group of filmmakers during “May 68.” Arriving in New York City in 1969, he was the first to employ the video camera as his primary art making device. Since then, his work has spanned a variety of styles and genres all shot on video. He has exhibited widely in North America and Europe, at such venues as Migros Museum, Zurich, Renaissance Society, Chicago, Williams College Museum of Art, the Anthology Film Archives, the Whitney Museum, Rooseum Center for Contemporary Art, Malmoe, Sweden, Kunshalle Wien, Austria, the Center For Contemporary Images, Geneva and the Berlin, London and Copenhagen Film festivals. Michel Auder taught in the sculpture department at Yale University and was appointed critic at Yale School of Art in 2009. In the fall 2010 he had solo exhibitions at Zach Feuer and Participant Inc galleries, New York.

Raul Vincent Enriquez works in various media, including photography, animation, live performance, moving image, beans & salsa, and sound. He has a history of hosting events, such as the Bean and Cheese Burrito Party which fosters mastication among audience members. In recent years, he has showed work at the New Museum (NYC), Queens Museum (NYC), Times Square (NYC), Photo Miami/LA Art Fair, The Stephan Cohen Gallery (LA), Scope (NYC/London/Miami), Conduit Gallery (Dallas), Los Angeles Contemporary Exhibitions, New York Theatre Workshop, NYU Performance Studies Program, and Cal Arts (LA), among others.

Bradley Eros works in a variety of media including: experimental film & video, collage, photography, performance, sound, text, expanded cinema & installation. He has exhibited at the 2004 Whitney Biennial & The American Century, The New York Film Festival, London Film Festival, MoMA, The Kitchen, Pacific Film Archives, SF Cinematheque, Performa, The Warhol Museum, Arsenal in Berlin, Lightcone in Paris; and also works with the New York Film-makers’ Cooperative, Anthology Film Archives, & Spectacle.
Bradley Eros is also a catalyst, actively involved the diverse New York experimental film scene, initiating, exhibiting and curating at a multitude of spaces & venues, collectives & festivals, including The Kitchen, Exit Art, Millennium, Anthology, ABC No Rio, Galapagos/Ocularis, NY Underground Film Festival, Migrating Forms, Issue Project Room, PS1,Collective for Living Cinema, Light Industry, Participant Inc, White Box, Franklin Furnace, PS122, Cabinet, Colab, and most especially, the Roberta Beck Mercurial Cinema, at Collective Unconscious. His work is also in the collection of the Donell Media Center, Film Library.

Glen Fogel’s work has exhibited widely including: Participant Inc, Momenta Art, The Kitchen, NGBK (Berlin), Artist’s Space, Galeria Andre Viana in Porto, Portugal, and the Museum of Modern Art. His films have screened at festivals including the Toronto & London Film Festivals and The Whitney Museum Biennial. A frequent collaborator, Fogel directed the music video for Antony and the Johnsons’ song Hope There’s Someone. Fogel received a MFA from Bard and has received grants from the MAP Production Fund, the Rema Hort Mann Foundation, and received the Princess Grace Award in 2009. Glen Fogel lives and works in Brooklyn, NY.

Takahiko Iimura has been a pioneer artist of Japanese experimental film and video, working with film since l960 and with video since 1970 while residing in New York and Tokyo. He is a widely established international artist, having numerous solo exhibitions in major museums such as the Museum of Modern Art, New York, the Whitney Museum, New York, Anthology Film Archives, New York, Centre George Pompidou, Paris, the National Gallery Jeu de Paume, Paris, Palais des Beaux-Arts, Brussels, Reina Sofia National Museum, Madrid, and the Tokyo Metropolitan Museum of Photography, Tokyo in addition to an artist residency at the German Academy of Arts, Berlin, and Bellagio Rockefeller Foundation Study Center, Bellagio, Italy.

Jonas Mekas was born in 1922 in the farming village of Semeniškiai, Lithuania. He currently lives and works in New York City. In 1944, he and his brother Adolfas were taken by the Nazis to a forced labor camp in Elmshorn, Germany. After the War he studied philosophy at the University of Mainz. At the end of 1949 the UN Refugee Organization brought both brothers to New York City, where they settled down in Williamsburg, Brooklyn.
Two weeks after his arrival in New York he borrowed money to buy his first Bolex camera and began to record brief moments of his life. He soon got deeply involved in the American Avant-Garde film movement. In 1954, together with his brother, he started Film Culture magazine, which soon became the most important film publication in the US. In 1958 he began his legendary Movie Journal column in the Village Voice. In 1962 he founded the Film-Makers’ Cooperative, and in 1964 the Film-Makers’ Cinematheque, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avante-garde cinema, and a screening venue.
During all this time he continued writing poetry and making films. To this date he has published more than 20 books of prose and poetry, which have been translated into over 12 languages. His Lithuanian poetry is now part of Lithuanian classic literature and his films can be found in leading museums around the world. He is largely credited for developing the diaristic forms of cinema. Since 2000, Mekas has expanded his work into the area of film installations, exhibiting at the Musée d’Art moderne de la Ville de Paris, the Moderna Museet (Stockholm), PS1 Contemporary Art Center MoMA, Documenta of Kassel, the Museum Ludwig in Cologne, and the Venice Biennale. In 2007, the Jonas Mekas Center for the Visual Arts opened in Vilnius, Lithuania.

Anton Perich was born in Dubrovnik, Croatia. He lived in Paris in the late Sixties where he became active with Maurice Lemaitre and Isidore Isou in the Lettrist Group as a painter, poet and filmmaker. Perich moved to New York in the early Seventies and was a contributing photographer for Warhol’s INTERVIEW MAGAZINE. He was an early pioneer of Cable TV, creating and directing the first Underground Cable TV show on Manhattan Cable in 1973. The show was controversial and censored. In 1977/78 Perich invented and built an electric painting machine, an early predecessor of ink-jet technology which he still uses to paint today. Perich’s works recently appeared at the Max’s Kansas City show at the Steve Kasher Gallery, New York. His works are in the collections of the Warhol Museum in Pittsburgh, the Warhol Foundation, and Robert Mapplethorpe Foundation in NY. His photographs, paintings and videos are shown and published worldwide.

Composer and software developer, working in the intersection between image and sound using a hybrid of digital and analog media. He has produced work for Michael Galasso and Rober Wilson, Sesame Street, Experimental Television, Harvestworks. Sweeten has performed and screened work at The Kitchen, PS1, NY Underground Film Festival, San Fransisco Electronic Music Festival, CinemaTexas, The Stone, Liverpool Biennial, Aurora Picture Show, Lux Spain, and has held youth workshops for electronic music at Community Musicworks (RI), Vibe Songmakers (NY), and The Guggenheim Museum (NY).

Liz Wendelbo is a French/Norwegian artist, now living and working in Brooklyn, NY. She is also a member of the analog electro-synth duo Xeno & Oaklander (2004-present). Wendelbo works primarily with photography & film. Inspired by the early light and color experiments by physicists Isaac Newton and J.C Maxwell, Wendelbo describes her work as a stripped down fetishistic comment on film-making as a process. In an effort to comprehend their complex color and light theories, Wendelbo re-enacts and deconstructs Newton’s and Maxwell’s color experiments- through practice, with the hand and through the body. Wendelbo’s work has exhibited at Artist’s Space, Andrew Kreps Gallery, White Columns, New Museum, and Galerie du Jour (Agnès b., Paris).

Nick Zedd is a film-makers, painter, writer, actor, political satirist, and a leading figure of the Lower East Side cinematic revolution, the Cinema of Transgression – a term he coined in a manifesto proclaiming “a new generation of filmmakers daring to rip off the stifling straight jackets of film theory in a direct attack on every value system known to man.” Zedd’s provocative, humorous, yet often intensely beautiful films have transcended their cult origins to influence mainstream culture from music videos to John Waters and Quentin Tarantino, who even refers to him in Pulp Fiction. Throughout the years, he has collaborated with Lower East Side artists including Richard Kern, Lydia Lunch, Kembra Pfahler, Lung Leg, Annie Sprinkle, Taylor Mead, Beth B, Reverend Jen (Electra Elf public access tv series), and others. Under multiple pseudonyms, during the years 1984-1990 Zedd wrote an published 9 issues of his infamous zines “Underground Film Bulletins”. For the past three years, Nick Zedd has been working almost exclusively on the new ENTITIES oil paintings. The works are manifestations of his “Theory of Xenomorphosis” (1998), which posits the possibility of a super-evolutionary process leading to mutation through the injection of an alien genetic code. Nick Zedd’s works have been shown world-wide – often with great resistance — and are in the permanent collection of the Museum of Modern Art (MoMA).





“Possessed of a scrappy, youthful verve lacking in its more prestigious neighbors… Fountain was distinguished by a vintage street/self-taught aesthetic…” —ArtForum

“The way an art fair should be.” —The Economist

“For a riverside art fair with more grit, the Fountain Art Fair truly delivers. Named after Duchamp’s famous urinal, this one had the piss and vinegar…. It’s this scrappy energy that augurs well for the continued vitality of art in the age of the declining Dow.” —Time Out New York

Fountain Art Fair was founded in 2006 as an attempt to leverage support for smaller independent galleries to gain access to larger collectors and critics. Since its inception, Fountain has held five exhibitions in Miami, one in Chicago, and is now celebrating its sixth exhibition in New York. From its roots deep within the independent Williamsburg art scene, Fountain has grown to represent over 20 international avant-garde galleries and projects, showcasing progressive primary-market works. Fountain’s venue, Pier 66 Maritime, is a 10,000 square-foot complex adjacent to all the major New York exhibitions such as The Armory Show and Pulse New York.

Fountain Exhibitors: Camel Art Space, Brooklyn * Cheap & Plastique, Brooklyn * Christina Ray Gallery, New York * G-Spot presents: Cronin-Smith-Rose, Brooklyn* Grace Exhibition Space, Brooklyn * Leo Kesting Gallery, New York * The Marketplace Gallery, Albany * Marianne Nems Gallery, New York * McCaig-Welles, San Francisco * Microscope Gallery, Brooklyn * Mighty Tanaka, Brooklyn * Murder Lounge, Boston/New York * Temporary States, Brooklyn * Thaddeus Kwiat Projects, New York * We-Are-Familia, New York * What It Is, Chicago
Independent Artist Projects:
Allison Berkoy, Brooklyn * Danni Rash & GILF!, New York * Evo Love, Miami * Greg Haberny, New York * Marni Kotak and Jason Robert Bell, Brooklyn * Mark Demos, New York


864.981.0288 | press@fountainexhibit.com

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Pier 66 Maritime (aka The Frying Pan) at 26th Street in Hudson River Park, New York, NY 10011

General Hours: March 4–6, 12 AM–7 PM
VIP/Press Preview: Thursday, March 3, 12 AM–5 PM
Public Reception: Friday, March 4, 7 PM–midnight
Special Event: Saturday, March 5, 7 PM–midnight

Friday, March 4th through Sunday, March 6th | $10
VIP/Press Preview: Thursday, March 3rd | $20 at door

For more info about Fountain Art Fair NY 2011, visit: www.fountainexhibit.com
All images are courtesy of the artists © 2011

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