Brian Conley   art33basel art unlimited pseudanuran gigantica preview: 10 june 2002, 5-7p fair dates: 12 - 17 june 2002, 11-7p daily                 Pseudanuran Gigantica viewer activated sound installation / sculpture, 2002   project description In his work, Brian Conley complicates the natural order of things. Translating scientific research and data into abstracted simulations with humorous subtexts, Conley consistently renders the natural unnatural and the serious absurd. From large-scale sculpture to live-radio broadcasts and interactive sound installations, Conley's work presents unlikely circumstances as logical possibilities for locating human experience within a continuum bounded by technology and nature. Continuing an investigation into evolution and the divide between animals and humans, Conley's project for ArtPace, Pseudanuran Gigantica, centers on a new species of frog and its distinct mating call. Using research from both zoology and neuroscience, Conley has constructed a room-sized mechanical sculpture based on a frog's vocal communication system. In this installation, the viewer enters a dimly lit exhibition space. Emerging from the shadows is a 15-foot tall aluminum contraption attached to a large orange cloth draped across the floor. Inside this low-tech structure sits a row of wooden organ pipes and a wide, funnel-like horn. A 10-minute event is activated by the viewer's entrance into the space, beginning with the cloth sack which quickly inflates to a 10 x 15 x 24 foot balloon, simulating an oversized vocal pouch. Voluptuous and intimidating, its overwhelming size reverses the typical human/animal dynamic suggesting instead a giant frog and a small human being. As the balloon slowly deflates, it forces air through several acoustic sound-generating devices to a funnel directed at the viewer, issuing a series of discordant noises–the frog's mating call. Because the mating call is the only language in which the frog is able to communicate, this first moment of "contact" between human and frog is loaded with absurd sexual innuendo. Monstrous yet alluring, the work reorganizes the hierarchical relationship between human and animals. Commissioned Project by ArtPace Foundation for Contemporary Art San Antonio, Texas (Summer 2001)     to view fragments of a future science fiction movie, art 33 basel, statements and other work by brian conley     artist bio selected projects 2001 Group Show, "BitStreams," Whitney Museum of American Art, New York Group Show "Marks of Omission," Arthouse, Dublin Solo Show / Residency, ArtPace Foundation for Contemporary Art, San Antonio, Texas Compilation, Audio CD, "BitStreams," JdK Productions, Amsterdam Installation, Stockholm Art Fair, Stockholm Senior Editor (with Sina Najafi), Cabinet Magazine, issues 2 through 6. 2000 Solo Show, "Xenotransplantation," Anthony Wilkinson Gallery, London Solo Show, "Xenotransplantation," Zinc Gallery, Stockholm Co-Director and Co-Editor (with Sina Najafi), Immaterial Incorporated, a non-profit organization for art and culture which produces Cabinet a quarterly magazine; a series of audio CD's of sound art; a CD-Rom series of artist projects and cultural issues. Group Show, "War/Art/New Technologies" exhibition and conference curated by Trebor Scholz, Portland Compilation, Audio CD, "Architecture of the Incidental" edited by Geoff Dugan, text by Allen Weiss Video,"WT," Zingmagazine, New York Group Show, Pierogi Gallery traveling exhibition, Yeurba Buena Center, San Francisco ("Multiple Sensations"); Post Gallery, Los Angeles ("Haulin' Ass, Pierogi in LA"); Block Artspace, Kansas City 1999 Radio Performance, "WAR!" a live interactive performance between New York (WBAI) and Belgrade, Serbia (Radio B2-92), organized with Sina Najafi and Immaterial Incorporated. Co-Curator (with Sina Najafi), "Heap of Language: Robert Smithson and Poetry" Whitney Museum at Philip Morris, New York Installation, Stetson University, Florida Group Show,"Rage for Art," Pierogi 2000 Gallery, New York Radio Broadcast, French National Radio, "On the State of Experimental Sound Art," edited by Allen Weiss, Paris Radio Broadcast, Austrian National Radio, "Other Voices: Echoes From a War Zone" curated by Gordon Paunovic of Radio B2-92 Belgrade, Serbia, April 29, 1999, Vienna 1998 Installation, "Wild/Life" curated by Amy Cappellazzo, Weatherspoon Art Gallery, Greensboro, North Carolina Editor, "New Splendid III" a compilation of audio art and music Compilation, audio CD, "Psychogeographical Dip" edited by Geoff Dugan 1997 Sound Installation, American Composers Forum, Sonic Circuits traveling festival. Installation (co-curated with Joe Amrhein) "Robert Smithson's Dead Tree" Pierogi 2000 Gallery with John Weber Gallery, New York Editor (with Joe Amrhein), exhibition catalog, "Robert Smithson: a Collection of Writings on the Occasion of the Installation of Dead Tree at Pierogi 2000," New York Group Show, "2001; Just What Do You Think You're Doing, Dave?" curated by Bruce Pearson, Williamsburg Art Center, New York Group Show, "Current/Undercurrent," curated by Charlotta Kotik and Joe Amrhein, Brooklyn Museum, New York 1996 Installation, "Kunstart 96," Bochenheimer Depot, Frankfurt, Germany Group Show, "New York Artists," Galerie Guth & Maas, Reutlingen (Stuttgart), Germany Radio Performance, "WAR!" interactive broadcast between WKCR (Columbia University Radio) New York and WFMU New Jersey Installation, "(constriction)" a collective sound installation, Pierogi 2000, New York Installation, "(constriction," Art Exchange Show, Wall Street, New York Group Show, curated by David Scher, Jack Tilton Gallery, New York Group Show, "Fictional Archives - Four Walls," Leung Institute, Oslo, Norway Group Show, "Dissociationism," Four Walls, New York 1995 Solo Show, "Superior / (Cranial)," Pierogi 2000 Gallery, New York Group Show, "Multiples," Pierogi 2000, New York grants and awards 2001 ArtPace Foundation for Contemporary Art, San Antonio, Texas 1997 International Art Critics Association/U.S.A., Awarded "Robert Smithson's Dead Tree" one of the best exhibitions in the U.S. for 1996-97 1989 National Endowment for the Arts, Fellowship, New York New York Foundation for the Arts, Fellowship, New York 1982 University of Minnesota, Fellowship, Philosophy, Minneapolis 1978 Whitney Museum, Helena Rubinstein Grant, Painting, New York 1971-73 National Science Foundation, Research Assistantship, Experimental Psychology, Wash. D.C. teaching 1999 Parsons School of Design, Graduate Program in Sculpture, New York 1997 University of Pennsylvania, Visiting Lecturer, Graduate Program in Sculpture, Philadelphia 1982-86 Parsons School of Design, Instructor, Theory and Fine Arts, New York 1982-83 New York University, Instructor, Philosophy, New York 1978-81 University of Minnesota, Instructor, Philosophy, Minneapolis publications 1999 Catalog Essay, "Birth of a Notion?" Kunst Als Teamwork, curator - Marion Piffer-Damiani, Kunsthalle, Vienna 1997 Catalog Introduction and Co-Editor, "Robert Smithson's Dead Tree," Pierogi 2000, New York 1996 Review, "Dissociationism," Zingmagazine, New York Catalog Essay, Joe Amrhein at Earl McGrath Gallery, New York "WAR!" WKCR On Air Program Guide, Feb vol xii, No.2, Columbia University, New York 1995 Catalog Essay, David Scher at Pierogi 2000 Gallery, New York 1985 Doctoral Dissertation in Philosophy, "Theories of Pictorial Representation: Nelson Goodman's Relativism and the Similarity Theory," University of Minnesota education 1975-85 PhD in Philosophy, University of Minnesota, Minneapolis 1979-81 MFA in Sculpture, University of Minnesota, Minnneapolis 1978 Independent Study Program, Whitney Museum, New York 1971-74 BA in Psychology, State University of New York, Binghamton bibliography 2001 ArtNews, June; Associated Press, Miranda Leitsinger, June; The Wire, Christof Cox, London, June 2000 Time Out, London; New York Arts, Brian Holmes; Henrik Tiselius, Tva utstellningar värda en extra promenad, Östermalm Tidningen, Stockholm; MŒrten Castenfors, Under hajhjärna och i en kulturmotor, Svenska Dagbladet, Stockholm; Nils Forsberg, Brian Conley, Nöjes Guiden, 13.05.00, Stockholm; Anders Olofsson, GŒ och Se!, Konsten (www.ao-ordbod.a.se), Stockholm; Daniel Boo, Brian Conley, www.alltomstockholm.se/kultur, Stockholm; Marie Helen Høvik, Brian Conley, www.artaround.se, Stockholm. 1999 Book, Unnatural Horizons, Allen S. Weiss, Princeton Architectural Press, New Jersey. 1998 Catalog, Wild/Life, Amy Cappolozzo curator, Weatherspoon Gallery, Greensboro, North Carolina.; Artforum, Frances Richards, February, New York 1997 New York Times, May, Roberta Smith; Catalog, Kunstart 96, Frankfurt; Germany; Printz Magazine, October, Frankfurt, Germany; Frieze Magazine, David A. Greene, London, England; Review Magazine, Matt Freedman, May 15, New York; Time Out, May , New York 1996 Art Press, Paris, France; New York Times, (constriction), Neil Strauss; New York Times Sunday Magazine, Ellen Pall 1993 Catalog, Arc + Film International Festival, Graz, Austria; ArtVoice, vol 4, #23, Nov 1993, Buffalo, New York; 1992 Book, Angry Graphics: Protest Posters of the Reagan Bush Era, edited by Steven Heller and Karrie Jacobs, Gibbs Smith Publishing, Utah; 1980 Christian Science Monitor, Theodore Wolff, Washington, D.C. panelist, lecturer, visiting artist 1999 Postmasters Gallery, interview/performance with William Pope L., New York Stetson University, Visiting Artist, Program in Digital Arts, Florida 1998 Brooklyn Museum, Lecturer, New York Parsons School of Design, Lecturer, Graduate Program in Sculpture, New York 1997 Gasworks Gallery, Panelist, London Cornerhouse Gallery, Panelist, Manchester, England 1979 Minneapolis College of Art and Design, Lecture, Minnesota
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