New York Host
My apt is in Williamsburg, 5 mins to Marcy Av and 10 to Bedford Ave and same to metropolitan ave stations, it is full of light on the fifth floor and it is filled with real artwork that I have either traded or collected, you will be sharing the space with an artist
Absolutely no smoking and no parties, this is a perfect place for someone who needs a very comfortable space to sleep and stay and only needs to bring her suitcase. I prefer people who stay more than 10 days.
I travel the world exhibiting my own artwork. Love a good joke.
I examine the notion of perception by questioning whether the world we live in, is but a mental construction; my artistic practice is used as a tool to decipher the laws that govern the world I live in. With this inquiry, I create objects by incorporating still, moving images, sound and interactivity to generate situations where I can materialize and communicate my emotional state. I want to challenge the audience’s own perception of what they consider real by generating a platform where they are induced to connect by exploring, interacting and at times by focusing on an object-place-scene for a duration of time in a manner that is both meditative and investigative.
(Video Description) TESSERAE, 2017. Projectors, media players, wood, colored paper, installation view<br /><br /><br />MONIKA BRAVO <br />TESSERAE, 2017 <br />Curated by Octavio Zaya<br /><br />Johannes Vogt Gallery<br />Jan. 18 – Feb. 26, 2017<br />Opening Reception: Wednesday, January 18, 2017, 6-8 PM<br /><br /><br /><br />Arising from her ongoing research on color and rhythm, Monika Bravo’s new works place us in an abyss pulsing with vibrating waves of energy, where readability and meaning remain elusive. After Bergson’s understanding of time and his concept of duration --which differentiates between the time that we measure in intervals and the time of our experience--Bravo aims for an interconnected sense of unity between space and time through an understanding of our mind´s cognitive structure, which gives to formless reality both shape and meaning. Thus, the visual layers and cycles that dwell between those states of abstraction and their corresponding materiality are what Bravo´s work reveals to us and what we are supposed to experience through it.<br /><br />Throughout her new installation, in the form of a mosaic of ideas, Bravo shows the gathering and editing of images through stitching, weaving, and compositing. Bravo also uses color to create a material contrast, a physical experience grounded in the circular duration of time in the piece. In the center of five monitors, three projectors, and sound, the viewer undergoes a hyper- rhythmic sensorial stimulation. In this activated state, on the one hand, Bravo is superimposing layers on LCD screens to help us enter into a new cognizance, where perception is mediated between what is real and what is virtual. On the other hand, another set of projections will be countering that experience: bursts of patterns of tiles, masked with Google image captures of Earth, will pulsate around the room as the silent beat of an imaginary musical score. <br /><br />For Bravo, the skin --our skin-- is what translates these sensorial forms. For her, the body is the site where form and content develop an exchange, a dialogue, and where a balance between them is struck. Following this conceptual frame, the one who knows and understands the surface is the one who can experience the depths and the void. As Paul Valéry used to say, “the skin is the deepest thing there is.” But, at the same time, inspired by the mechanical and hallucinatory vision of a possible future where robots would see the world as a pixelated blur, Bravo uses technology to assemble a composite of pieces and particles--an animated puzzle of multiple and cracked realities--that allows the viewer to descend into a place where other possibilities --parallel realities and discoveries--exist.<br /><br /><br />Recently granted a commission by the MTA Arts & Design, Bravo has also begun to work with mosaics. After working many years with animations, projections, and installations, Bravo is now oscillating between ancient and contemporary technologies, between the eternal image on a wall and the fleeting projection on the screen, where a conversation of particles emerges between tesserae and pixels. Bravo is thus rewriting a new code between the two languages of weaving and mosaic-making, a code that connects together the elements of perception, illusion, time, technology, and the universal.<br /><br />Octavio Zaya
(Video Description) Monika Bravo’s URUMU [WEAVING_TIME], 2014 is a video installation that rapidly envelops the viewer in textile. Intermittently, across three walls (the entirety of the viewer’s field of perception), “threads” shoot up and down creating a virtual warp. At the same time and with the same irregular rhythm, weft “threads” move left and right, creating a weave. The resulting graphic “woven” image appears to constitute a text written in an unknown foreign language. As the weaving process continues, the graphic image of the pattern slowly fades into a video that at the end reveals a view of an undetermined location, seemingly devoid of the faces of human beings. The meaning of the virtual weavings will vary depending on the viewer. For people who grew up outside of Colombia, they might seem like abstract patterns, possibly recalling the graphic motifs of an indigenous South American culture. For Colombians, they will evoke mochilas arhuacas, the Arhuaco bags which are ubiquitous throughout the country and are also popular tourist souvenir. For the Arhuaco (Ika) people who inhabit the Sierra Nevada de santa Marta region, however, the motifs have a very specific meaning, each element symbolizing a fundamental idea about their culture. As one member of this indigenous community has stated, “the universe that shelters us is a spiral dwells in the bottom of my backpack. The threats of my knowledge comes from before, and have been intertwining since I was a girl.” In the area in which they live, which they share with the Wiwa and Kogi peoples, as stunning mountain range that forms a distinct geographic border adjacent to the Caribbean Sea, textiles are both practical and symbolically significant. The communities of the Sierra Nevada, despite their tense and tenuous dialogue with the modern world, have been able to preserve their ancient rituals and traditions that rely on other ways of relating to nature. In URUMU [WEAVING_TIME], Bravo demonstrates her ongoing interest in how the word “textile” relates to its etymological cousins––text/texture/technique––which have become interrelated over the course of history. In this installation, Bravo stresses the importance of time, process, and craft. Her method, which involved meticulous work using editing software, draws upon another element intrinsically linked to the history of weaving––computers. The perforated cards and specialized loom that Joseph-Marie Jacquard (1752-1834) invented to automate the production of patterned textiles later inspired Charles Babbage (1791-1871) and others in the development of computer engineering. Bravo previously explores the relationships between text, image, and time in her work Landscape of Belief (2012), in which threats of text––fragments from Italo Calvino’s Invisible Cities (1972)––run across a “screen”, in this case, sheets of frosted glass. The text subsequently morphs into various iconic cityscapes. Even if textiles were not a focus in that work, it is impossible to ignore the ways it relates to the act of weaving, Ariadne’s thread, and the Minoan labyrinth. Indeed, throughout Bravo’s impressive portfolio of video installations, one can see her controlling the surface of the video projection and demonstrating her detail understanding of the image as a texture and the acute importance of timing, all of which greatly contribute to the way a viewer perceives a visual work. Alejandro Martin, Waterweavers: a cronicle of rivers/ Jose Roca and Aejandro Martin in conjunction with the exhibition Waterweavers: The River in Contemporary Colombian Visual and Material Culture held at The Bard Graduate Center. 2014. Translated by David Auerbach.
EXTRA GUEST FEE
After more than 1 guest, charge $50 per person, per night.
No smoking allowed
1 night minimum stay
20 nights maximum stay