Bio-foam Aluminum pour (energy drink can mouth grid version)
Approx. 57″ x 42″ x 10″
Roman à Clef And/Or The Appetite Of The Chef
Daniel R. Small
Sophie von Hellerman
Rainbow in Spanish
Open Saturday and Sunday 12pm – 5pm and by appointment.
3401 Union Pacific Ave. Los Angeles, CA, 90023
February 20 – April 17, 2016
BIO:DIP is a neologism, a parallel not a pair. It is two bodies of work that come into contact, and, in the way of bodies, react to one another. BIO:DIP is dialogue, not synthesis. Each body is invoked by a system with its own internal economies, its own sources of nourishment and regulation, as well as its own tactility, material identity, and by-product. Each is in its own way a circulation system designed around sensory exchange. Where they mingle they do so atmospherically. As the two bodies infuse the air itself, they connect not just to one another but, through the respiratory system, to those of the audience itself.
Focused on the porous intersections of the body, Nicolas Lobo’s practice concerns the transformation of familiar material through ingestion and use. For BIO:DIP, he has created a series of sculptures made entirely of soap and cast in fiberglass swimming pools. In the gallery, the pools are inverted and repurposed as pedestals. Their extroverted forms both evoke the human body through the rituals of bathing and cleansing, and by inviting tactile engagement and hosting performances. Tying together the interior and exterior of the building, Lobo continues to use body-enhancing materials as sculptural forms. In this instance it is the transparent orifice of the building itself—originally intended to let the outside gaze in— which Lobo obscures with thick layers of lipstick. Like much of Lobo’s work, products intended for personal application are returned to the industrial scale as critique and reflection of our human needs.
Like Lobo, Hayden Dunham is interested less in the singularity of objects or bodies than in the conditioning systems that go into their maintenance and care. Systems such as central air, water filtration, or sewage treatment model the exchange of information between the hard and soft architectures of building and body. Tapping into the Red Bull Studios New York’s existing HVAC system, she creates her own structure of visible and invisible exchange. What begins as a frozen sculptural form is cycled through multiple states of ice, melted water, condensation, and vapor before interacting and passing through the viewer’s body in the form of breathed air. Glass, marbles, silicon, and molten aluminum will be used to create networks in which the potential energy of these exchanges can be stored and experienced. Here the politics of the ever-evolving body meld with those of its housing.
Just as Red Bull Studios New York hosts BIO:DIP, BIO:DIP hosts the viewer. Incorporating our own bodies within such poly-sensualism, we are asked to reflect not just on the individual human economies of acre and need, but on the idea of the gallery itself as forever in flux— now equal parts laboratory and spa. -Neville Wakefield
In the Flesh
Part l: Subliminal Substances
MARTOS LOS ANGELES
3315 West Washington Blvd
Los Angeles, CA 90018
Curated by Courtney Malick
October 23 – December 5, 2015
Opening reception: Friday, October 23, 6 – 9 pm
Click here to download
Nicolas Lobo’s A Modulor Broth Debuts at Gallery Diet’s New Miami Space
Miami—Gallery Diet is pleased to present the inaugural exhibition in its new space, Nicolas Lobo’s A Modulor Broth. The exhibition opens November 6th with a public reception and will be on view through November 25th. In the gallery, a series of six-foot-tall panels manip- ulate the parameters of Le Corbusier’s Modulor Man to reconsider how the human form’s material tolerances quantify both industrial and personal space in ways unimaginable at the start of the Modernist Project.
For several years, the Miami-based Lobo has been developing what is essentially a figurative practice, albeit one that eschews the actual figure. Instead, he focuses on what could be termed the para-figurative: a mode of thought and production that treats the human form not as a discrete entity, but rather as a massively distributed data set occupying the interstitial gap between innumerable technologies—often designed by corporations and the military—to outline, project, destroy and re-create the body.
The panels in A Modulor Broth find the body in crisis; they either respond to trauma or therapy. Among other materials, they are made of Bio-Foam (used to mold parts of the body for the construction of prostheses), PIG® HazMat absorbent cloth, Kevlar, Velcro, and carbon fiber—each of which has undergone both precise and rough-hewn alterations by industrial machines and the artist himself. Be it homemade napalm or soy sauce concocted from his own hair, Lobo is known for an unexpected and subversive use of materials. While in the past his sculptures and installations have primarily indexed the conditions of their making, these new panels announce themselves first as autonomous objects. Mimicking the form and logic of bas-relief sculptures, Lobo’s new work is at once a rebuttal of Le Corbusier’s modernist dictates, and a singular examination of the forces surrounding the con- temporary body.
PAMM Project Gallery
April 16–December 12, 2015
“To create the objects that comprise The Leisure Pit (commissioned by Pérez Art Museum Miami for an all-concrete project gallery), Lobo converted an ordinary swimming pool into a facility for industrial manufacture, submerging molds filled with powdered concrete and allowing time and the weight of water to solidify the forms contained within them. At every phase of his experimentations, Lobo harnessed the technical conditions dictated by his chosen setting, factoring in everything from the chemical composition of chlorinated water to the cement mixtures employed in typical, private pools. The site also provided the project’s aesthetic parameters, its look informed both by backyard ornamental kitsch and by the more severe forms of water-related civic infrastructure, particularly the massive storm drains that run beneath the city’s surface—buried behemoths reduced to human scale. The result stirs up the rich symbolic connotations appended to the swimming pool, while inviting us to consider its sobering implications in the context of 21st-century Miami.”
From text by Rene Morales, Curator.
Temporary installation on the facade of Miami Center for Architecture and Design as part of Fringe Projects
100 Northeast 1st Ave, Miami, FL 33132
09.19.14. – 09.30.14
September 4 – November 1, 2014
Reception September 4th, 6:00 to 8:00 pm
March 13 – March 28, 2014
174 NW 23rd Street
Miami, Florida 33127
Gallery Diet is proud to announce Bad Soda / Soft Drunk, Nicolas Lobo’s second solo exhibition in the gallery. Lobo presents a series of new sculptures formed from napalm and play-dough within a gallery space drastically altered by 69,000 bottles of Nexcite, an obscure brand of energy drink marketed for its aphrodisiac qualities.
Known for his consideration of the invisible forces surrounding object culture, Lobo has orchestrated the shipping of several truckloads of Nexcite from a disused building in Miami’s Opa-locka neighborhood, where pallets of the windex-blue beverage have languished for a decade. Presented as a raised floor built from the original 24-packs, the installation evokes at once a stage, an archaeological dig, and an interior mall plaza—completely subsuming the gallery floor and casting a phosphorescent blue light on the white-cube space. Surrounded by this sea of chemically altered sugar water, a select number of Lobo’s napalm sculptures emerge in elegant formation. These works engage both the millennia-long tradition of Chinese scholar stones and, through their construction materials (Styrofoam and gasoline), the contemporary matrix of aesthetics and ethics concerning chemicals and their usage. As such, Lobo has transformed the Miami gallery into part Chinese rock garden, part lifestyle brand excavation.
The exhibition, open for two weeks only, is but a temporary pause in the lives of both the sodas and the sculptures. This project continues Lobos ongoing interest in how an artist can control the systems of production, distribution, and consumption surrounding objects both mass-produced and created by the hand. The engagement with a failed energy drink comes out of past work with cough syrup and an overarching awareness of materials that, like art, can drastically change our emotional and perceptual properties if marketed correctly. These psychophysical distortions are a key not only to this exhibition, but also to the artist’s practice of late.
Nicolas Lobo was born in Los Angeles. He graduated from the Cooper Union in 2004, and lives and works in Miami. He has exhibited widely, including MOCA, North Miami; the Miami Art Museum, Marlborough Chelsea, Lisa Cooley Gallery, and Invisible Exports. He is represented by Gallery Diet.
The artist and the gallery would like to thank Leo Valencia and World Logistics MIA, Avra Jain and Joe Del Vecchio of the Vagabond Group, as well as Matthew VanderWerff. Without their help and generosity, this project would not have been possible.
Gasoline, polystyrene, play-dough, resin, pigment, terrazzo
60 × 24 × 24 in
152.4 × 61 × 61 cm
NOVEMBER 6TH – 30TH
From the press release:
“By definition, banter means to joke around, make fun of, and be loud. The exhibition, by contrast, is about the quiet moments that are a part of contemporary art and its system. Joseph Kosuth said, “art is about meaning.” Here, the making of art and its meaning has no direct association with any particular visible experience, but instead develops from an inward and strictly personal experience.”
174 NW 23rd Street
Miami, Florida 33127
Published in the Miami Rail.
The Wolfsonian–FIU to Host Purple-Goo App Launch
Thursday, August 1st, 2013 from 8-11pm
Live Performances from Miami-Based Band Krisp
Miami Beach, FL (July 25, 2013) — The Wolfsonian–Florida International University will host an App Launch for Purple-Goo, a new sound stretching application for the iPhone and iPad created by Nicolas Lobo and Dylan Romer. Purple-Goo gives listeners a tool to deconstruct pop music into its atomic structure. Miami-based band Krisp will be performing two live sets at 8:30pm and 9:30pm in the Wolfsonian lobby, and the live audio will then be processed using Purple-Goo to fill the “sonic time” between the live sets.
Purple-Goo gives listeners the tools to deconstruct pop music into its atomic structure. Using music from your iTunes library, Purple-Goo can stretch a 3 minute pop song into a score lasting hours and even days by playing each sample audibly from a sound file containing 44,000 samples a second. Currently Purple-Goo allows a stretch of up to 100,000,000%. At the more extreme levels of stretching the songs can be used for brain wave modification. Purple-Goo is a collaborative project by Nicolas Lobo and Dylan Romer.
@pacific design center
8687 Melrose Avenue #B275 West Hollywood, CA 90069
May 16 – June 28, 2013
Opening reception Thursday May 16th from 6:00 to 8:30 pm
From the press release
Nicolas Lobo’s Grape Syrup Action for Paul Octavian Nazca’s “U Smile 800% Slower” cross-contaminates ascending mega-trends in a deadpan video documenting an enigmatic mark-making activity. The imagery captures a person, covered head to toe in protective painting gear, spraying purple fluid onto the large interior walls of a warehouse. This ambiguous action is set to the sounds of hypnotic distant howls surging in wavelike rhythms. The purple fluid sprayed from a hacked fire extinguisher is grape cough syrup, Screw music’s drug of choice. Lobo’s weaving line of oozy, evaporating purple syrup embodies a drawing practice he refers to as Palsy Drawing, which he explains as a technique derived from non-representational early childhood mark making that is directly tied to developing neurological patterns.
Meanwhile, echoing inside the industrial space, the soundtrack for Lobo’s narco-action painting is the semi-authorless viral phenomenon “Justin Bieberʼs U Smile 800% slower”. This track is part of a surging trend of extremely slowed pop songs that carry DJ Screw’s eponymous Hip-Hop genre a step further into total hallucinatory disfigurement. Lobo’s video functions as a kind of multi-sensorial echo chamber for pop culture and its endless zombielike permutations.
Somewhere Between 87.9 MHZ and 91.9 MHZ
Download .pdf here
“Michael Jackson’s Ear”©Goff Images
174 NW 23rd Street
Miami, Florida 33127
April 11th 2013 6 – 9 pm
From press release:
Nicolas Lobo and Gallery Diet invite you to a listening party for Justin Timberlake’s comeback album “The 20/20 Experience “. Derided by critics as a mediocre effort, “The 20/20 Experience “ serves as sonic fodder for Lobo’s ongoing experiments with deconstructed pop music. For one night the gallery will be filled with the sounds of Timberlake’s album disassembled into their most basic components, In addition to sound, a selection of Lobo’s recent collages and sculptures will be on view. Timber, lakes is the first in a series of ongoing one-night solo exhibitions by Lobo planned in between regular gallery programming.
Nicolas Lobo designs systems of assimilation, looking to digest as much cultural and physical material as possible. Absorbing discrete objects rather than attempting to invest individual artworks with meaning his primary goal is one of consumption rather than production.
March 4 – 10, 2013
33 Bleecker Street
New York NY 10012
November 30th 2012—January X, 2013
Organized by Nicolas Lobo
An exhibition in which the moral circuit between the eye and the hand is traveled.
Can the eyes project evil? What does the act of looking do to affect the things we look at? If the eyes function as a deterministic mechanism for the actions taken by the hands, it seems to be a very difficult mechanism to negotiate. The works included in this show interrogate the moral tension between the eyes, the hand or may be simply a result of the pressures of both.
One can sit on Emmett Moore’s bench: a toppled fiberglass trashcan in the center of the exhibition space. The trashcan is painted a saturated aqua color and its design suggests origins in a theme park or outdoor mall from the mid 20th century. Describing an act of delinquency by a hand in an environment we can imagine with wry familiarity, the seating sets the tone for what is to be viewed from it. For example, in Harun Faroki’s film Eye/Machine, we see images taken by the machines of war themselves; the pictures don’t quite fit the rubric of propaganda. Instead the film suggests a policy of image-making that may have eclipsed the other functions of armed conflict.
Where we can see these ethical traces we may be tempted to follow the morality described by them. First we should consider not only the images but also how they are seen. What ethical modifiers are the viewing conditions? Can the eye inflect these hand marks with its own possibly deviant urges?
12″ x 18″
“Shop windows and StoreFronts have been quiet conduits for the uncanny. As strange as one can imagine a play between a top hat and a pair of gloves may be, what may be really uncanny in Frederick Kiesler’s conception of the window display as the place where advanced art met mass culture is how prescient it was, when taken from a slightly different angle: it already announced, even if it didn’t know it, that the objects of advanced art would one day be no different from top hats and gloves. To the story of window displays and storefronts in the early 20th century, we have to add later developments: from Claes Oldenburg The Store (1961) to the storefronts that sustained the growth of the East Village scene in the 1980s to the widespread practice of artists opening small shops where ever they can. Taking all this into account, one wonders: How would artists react to the opportunity to consciously work in an empty shop? How does the artifice affect the production? Is a degree of self-consciousness mandatory? Can a weighty context be disregarded? Does display as medium or theme still have critical potential? It is around these questions that the exhibition StoreFront takes shape”.
– Adapted from text by Gean Moreno, StoreFront exhibition press release, 2012
ARTISTS IN EXHIBITION
Kevin Arrow, Loriel Beltran, Christy Gast, Daniel Clapp, Patti Hernandez, Christina Lei-Rodriguez, Nicolas Lobo, Justin Long, Robert Lorie, Hugo Montoya, Carlos Rigau, Viking Funeral.
September 15th – November 9th, 2012
From the request for proposals:
“Eight weeks of radical innovation in visual and geospatial data analysis
There’s a lot to be said for the road that is taken—it’s safe, it’s well lit, and you probably know where it leads. Rarely does an opportunity present itself to leave the road entirely and venture off in search of new vistas. The Defense Advanced Research Projects Agency (DARPA) seeks trailblazers to explore the unknown in the areas of visual and geospatial data analysis. Researchers will participate in a short-fuse, crucible-style environment to invent new approaches to the identification of people, places, things and activities from still or moving defense and open-source imagery“
From the Discosoma records website:
We are proud to present (in collaboration with O, Miami Poetry Festival) an original 5-Poem split 7″ featuring 2012 Pulitzer Prize-winner Tracy K. Smith and L.A. Times Book Prize-finalist Gabrielle Calvocoressi. A limited edition of 200 records was pressed, with each cover hand-painted as an original multiple by Miami artist Nicolas Lobo.
ARTISTS IN THE EXHIBITION:
Nellie Appleby, Domingo Castillo, Clifton Childree, Phillip Estlund,
Jiae Hwang, Eric Landes, Nicolas Lobo, Mark Moormann,
Ernesto Oroza, John Sanchez and Tom Scicluna
A remake of the shirt designed by N. W. Ayer advertising for AT&T’s early 90’s campaign advertising the world wide web. The campaign was centered around television spots directed by David Fincher and narrated by Tom Selleck. Available now through [NAME]
August 3rd 2012
801 SW 3 Ave. Miami, Florida 33130
From the press release:
Miami as a city has out-paced its artists in giving morphological expression to the forces that increasingly organize the social field. At the moment, it seems more interesting to present the auxiliary elements (promotional materials) that aid in the effort to produce urban form than actual art objects. Hence the visual element for this exhibition will be a promotional video for the “Miami World Center” development ( http://www.youtube.com/watch?v=9aLCqDZXxBM ). The artist’s productive role in the situation we are undergoing becomes, I think, one of inserting deviant (corrective?) and intereferential elements into what has conngealed as the normalized modes of presentation and delivery. To this end, and keeping in mind The Nightclub concept and its auditory connotations, I’ll invite a group of artists to re-soundtrack the promotional video that is being presented, taking as their starting point the idea of a post-booty bass–a stand-in for “dirty” and contaminated data, parasitically clinging to visual manifestations of transnational capital.
Curated by Van Hanos.
174 NW 23rd Street
Miami, Florida 33127
JULY 19TH – SEPTEMBER 1ST 2012
JULY 19TH 6 – 9 PM
Show review by Daniel Feinberg on ArtSlant
SPRING BREAK @ The Biscayne Wireless Corporation presents a happy hour liquidation & pop-up publication sale in conjunction with [NAME] Publications, Augurari, Roofless Records, Nicolas Lobo and Viking Funeral for the record release of Lobo’s [Slowed and Mirrored] audio cassette through Augurari. [Slowed and Mirrored] will be available for listening as well as drawings featuring Biscayne Wireless’s collection of Peruvian ceramics. Drinks will be provided. January 13, 2012 from 04:00-06:00PM, 2405 Biscayne Boulevard Miami, FL 33137
545 West 25th Street
New York, NY 10001
Opens Thursday, December 15th from 6 to 8 p.m.
Installation view of “Dye Trough” at “Four minutes, thirty-three seconds”
“FOUR MINUTES, THIRTY-THREE SECONDS”, CURATED BY OMAR LOPEZ-CHAHOUD
1035 N Miami Ave
Miami, FL 33136
Exhibition runs from November 30th to January 31st (Tuesday – Friday 12pm – 5pm)
At Santa Barbara Contemporary Arts Forum
653 Paseo Nuevo, Santa Barbara, CA
Opening Reception: November 5, 6:30 – 8 pm
Exhibitions on view: November 6, 2011– January 8, 2012
Installation view of “SSTV wildlife film” at Wireless
Wireless brings together an international group of artists, residing in New York, Los Angeles, London, Geneva, St. Gallen, and Santa Barbara, whose work is concerned with radio transmission. Conceived in honor of the 50th anniversary of local independent radio station KCSB, the artists featured in Wireless use the medium of radio as a jumping off point to consider how individuals convey ideas, memories, and information across distances long and short.
Wireless is organized by NY-based curator Elizabeth Lovero, formerly both a KCSB DJ and CAF Assistant Curator. While all their practices are grounded in a consideration of radio, the exhibited artists work in diverse mediums: from sculptural installations to drawings; from photography to video and sound. Included in the exhibition are Francis Baudevin, Dove Bradshaw, Nathan Carter, Tyler Coburn, Melissa Dubbin and Aaron S. Davidson, Ellie Ga, Nicolas Lobo, Neighborhood Public Radio, Marko Peljhan and Matthew Beiderman, Daniel Perlin, Roman Signer, and Jim Toth.