Earth Machines
Curated By Ceci Moss
YBCA, San Francisco, CA
Aug. 14 - Dec. 6, 2015

Memory Palace,
Alisa Baremboym & Seung-Min Lee
Curated By Tamar Margalit
Luxembourg & Dayan, NY
July 28th, 7pm

Essay by Laura Mclean-Ferris:

Catalogue for Künstlerhaus, Graz:

Realism Materialism Art:

Recent Past:

Schinkel Pavillon, Berlin, GE
Alina Szapocznikow, Alisa Baremboym, Katja Novitskova, Carolee Schneeman...
Jun 13 - Jul 26, 2015
Reception: Fri, June 12th, 7pm

DIDING An Interior That Remains an Exterior?
Michele Abeles, Laura Aldridge, Trisha Baga, Alisa Baremboym, Anna Barham, Dora Budor, Lisa Holzer,
Josh Kolbo, Julian Palacz, Charlotte Prodger, Sam Pulitzer et al., Jon Rafman, Sean Raspet, Hannah Sawtell,
Jack Strange, Sergei Tcherepnin, Stewart Uoo, Jordan Wolfson
Künstlerhaus, Graz, Austria
March 14, 2015 — May 31, 2015

Conflict (process)
47 Canal, New York March 1 - April 5, 2015

Art in America Review

Topical Cream Magazine, Conflict (process)

Conflict begins with the inferring of intent.

In the communication of select information, conflict is a generative process, conflict is a form of
corporate creative process.

A grapeshot is an early form of shrapnel and when used at short range, creates maximum impact
at minimal distance. Here they are modeled in ceramic and are hollow and porous. Their unvitrified
ceramic boundaries are easily permeated. Resin bases lined in gelled emollient serve as
holding containers, suspending fossilized remnants of dispersed rings, anticipating continued
fallaway. Soft weapons as internalized machines of war.

Windows are faced with liquid vinyl and accommodate the grape shots that push against them.
The hazy filter communicates the select information of the day. Vinyl plasticizers filter a soft
media light through the space and materialize the perception of the forces of conflict. The window
is a shifting light box highlighting the conflict of selected information, and creating an unstable

A scattershot rests on mangled gel and resin and is locked into the verticality of the steel conduit
holding it in place.

A steel patinated ramp holds a stained and fired ceramic.

Conflicting materialities are a process of perception, and the process is the site of production.


Mclean-Ferris, Laura, "'In Focus: Alisa Baremboym'" Frieze Magazine, January, 2015

Opaque Solutions: An Interview with Alisa Baremboym, by Tim Gentles, Art in America

Hyper-Materiality, Kaleidoscope magazine interview by Ruba Katrib with Alisa Baremboym and Pamela Rosenkranz

Lands’ End, Organized by Dena Yago, Bodega, New York, NY
Patrick Armstrong, Alisa Baremboym, Mia Goyette, Zoe Latta, Josephine Pryde, Dena Yago, January 11 - February 15, 2015

Mending Wall, Curated by Alexis Rose, The Pit, Los Angeles, CA
Leonor Antunes, Alisa Baremboym, Huma Bhabha, Kate Bonner, Rachel Harrison, John Houck, Jake Kean Mayman, Ann Greene Kelly,
Sean Kennedy, David Shull January 11 - February 22, 2015

The Great Acceleration, Art in the Anthropocene, Taipei Biennial, Taipei, Sept. 13, 2014 - Jan. 4, 2015

Graf, Jodi, "Lands' End" Brooklyn Rail, March 5, 2015

Busta, Caroline, "Taipei Biennial 2014 'The Great Acceleration'" Artforum, September, 2014

Mclean-Ferris, Laura, "'The Great Acceleration:Art in the Anthropocene'" Art Agenda, September 15, 2014

Fluidiax Systems, 2014
Mangled steel, gelled emollient, grinder gear, vinyl, tubing, archival pigment print on silk gauze, mylar, webbing
98" x 20" x 19" (height)

Contricity Systems, 2014
Mangled steel, ceramic, tubular webbing, travel pouch, bungee cable, tubing, vinyl, hardware
55" x 46" x 26" (height)

Parasorbal Systems, 2014
Mangled steel, gelled emollient, archival pigment print on silk gauze,
ceramic, vinyl, tubing, bungee cable, mylar, insulation foam, webbing, hardware
43" x 55" x 39" (height)

Hidralink Systems, 2014
Mangled steel, gelled emollient, ceramic, tinted vinyl, mylar, pvc pipe,
insulation foam, webbing, hardware
41" x 18" x 58" (height)

Amphicense Systems (detail), 2014
Mangled steel, ceramic, tinted vinyl, tubing, webbing, hardware
31" x 16" x 88" (height)


CONTACT, Alisa Baremboym & Gregory Edwards, The Fireplace Project, East Hampton, NY
Sequence 5, Miguel Abreu Gallery, NY
Phantom Limbs, Pilar Corrias, London
The Stanley Parable, Elaine Levy Project, Brussels
Wanton Mobility, Klemm's, Berlin
That Obscure Object of Desire, Luxembourg & Dayan, New York, NY

Galleries-Uptown, "That Obscure Object of Desire," The New Yorker, September 1st, 2014

Landes, Jennifer, "Circuits and Sparks at Fireplace," The East Hampton Star, 2014

Charlesworth, JJ, "Phantom Limbs," art agenda, July 10, 2014

Pertson, Hili, "Critics' Picks Berlin,", 2014

Hugill, Alison, "Wanton Mobility at KLEMM's," Berlin Art Link, July 07, 2014

Syphon Solutions, 2013
Archival pigment inks on silk, ceramic, vinyl, gelled emollient, latex tubing, bungee cable,
combination release buckle strap, tubular webbing, magnets, hardware
Dimensions variable

Adaptic Systems, 2013
Mangled steel, archival pigment inks on silk, ceramic, flat bungee, tinted vinyl, syphon sieve, magnets, hardware
47 x 30 x 16 inches
photo courtesy contemporary art daily


Art Post-Internet, Ullens Center, Beijing, China

Shirts vs. Skins, New Gallerie, NYC

The Cardboard Lover, American Contemporary, NYC

Speculations on Anonymous Materials, Museum Fridericianum, Kassel, DE

Cookbook, Palais des Beaux-Arts, Paris, FR

M/L Artspace Presents: Under the BQE, in collaboration with Gregory Edwards, curated by Marie Karlberg and Lena Henke,
September 28th, 2013, NYC under the BQE

Reverse Engineering, curated by Bill Powers, The Fireplace Project, East Hampton, NY

Alisa Baremboym / Gregory Edwards, Petrella's Imports, Suzanne Geiss, New York, NY

Hello Goodbye Thank You again, and again, and again, curated by Anthony Huberman, castillo/corrales, Paris, FR

ProBio curated by Josh Kline, EXPO 1: New York, MoMA PS1

Syphon Industries, 2013
Archival pigment inks on silk, gelled emollient, ceramic, steel, vinyl, tubing, hardware

Porous Solutions, 2013
Ceramic, custom webbing, hardware, gelled emollient, mylar, archival pigment inks on silk, magnets, bent steel

Travel Impression, 2013
Ceramic, travel waist pouch, flat bungee cable, steel

shape sweat: detox vision, The Vanity, Los Angeles, CA

poster design by Ania Diakoff

shape sweat: detox vision installation, The Vanity, Los Angeles

the vanity

shape sweat : detox vision

customized remnants
 ghost impressions
  strainer hardware for your soft
porous drains
 adapters for adapting
  outer silks
  re-strained wardrobe choices
   gear for the grind
remains of another
  of our tubular constraints

47 Canal
March 7-10, 2013

Torque, 2013

A Disagreeable Object, Sculpture Center, L.I.C., NY
Sept 15 – Nov 26, 2012


Leakage Industries: Clear Conduit, 2012
Gelled emollient, bisque fired ceramic, usb cable with gender changers, flash drive, hardware
40h x 48d x 32w inches




Leakage Industries: Strainer, 2012
Archival pigment inks on cotton and silk, gelled emollient
60 x 44 inches

Leakage Industries: Soft Screw, 2012
Galvanized steel, glazed ceramic, gelled emollient, auger worm, silk gauze, hardware
37h x 12d x 60w inches



Installation with Bedpan, 2012
Glazed ceramic
14 x 11 1/2 x 3 1/2 inches

GRAN PRIX, Curated by Gresham's Ghost, Nudashank, Baltimore, MD
Nov 16 – Dec 16

Untitled, 2012
Ceramic, combination release buckle straps
21 x 16 x 3 inches

Untitled, 2012
Ceramic, USB cable, gender changer
11 x 7 x 5 inches

Abundant Delicacy, 47 Canal Street, NYC
April 4 – May 13, 2012

          Grinder Gears, 2012Grinder Gears, 2012 Archival pigment inks on cotton and silk
60 3/4 x 40 1/2 in
Pallet, 2012Pallet, 2012 Archival pigment inks on cotton and silk
65 1/2 x 40 in
Bedpan, 2012Bedpan, 2012 Glazed ceramic
14 x 11 1/2 x 3 1/2 in
Tiny Sausages, 2012Tiny Sausages, 2012 Archival pigment inks on cotton and silk
12 3/8 x 16 1/2 in
Beet Pallet, 2012Beet Pallet, 2012 Archival pigment inks on cotton and silk
12 x 19 in
Meat Locker, 2012Meat Locker, 2012 Archival pigment inks and watercolors on silk, steel (hung in front of elevator)
93 x 88 in
Useless tool, communal cup and friends, 2012 Useless tool, communal cup and friends, 2012 Glazed ceramic, gelled emollient, artists pedestal, shrink wrap
46 x 60 x 12 in
          Bredestal, 2012 Bredestal, 2012 Archival pigment inks on silk, mirrored plexiglas, toilet paper
40 x 14 x 14 in
Lox, 2010Lox, 2010 Archival pigment inks on cotton
72 1/2 x 58 in
     Sardines, 2012Sardines, 2012 Archival pigment inks on cotton
55 x 40 1/2 in
Sardine Luggage, 2012Sardine Luggage, 2012 Luggage, cans, archival pigment inks on cotton, shrink wrap
41 x 14 1/2 x 12 inches
     Seasoned, 2011 Seasoned, 2011 Archival pigment inks on silk
39 x 32 in
Silodka, 2010  Silodka, 2010 Fiber react dye on silk, muslin
67 x 43.5 in
   White Columns/ 179 Canal Anyways install, 2010 Still Life 5, 2011 Still Life 5, 2011 Archival pigment inks on silk with cotton backing
40 x 28 in
Cleaning Companion 2, 2011 Cleaning Companion 2, 2011 Heat transfer and iron oxide on canvas
40 x 30 in
Still Life 7, 2011Still Life 7, 2011 Archival pigment inks on silk with cotton backing
40 x 26 in
   Showroom installation, Alisa Baremboym with Skúta Helgason Still Life 8, 2011Still Life 8, 2011 Archival pigment inks on silk with cotton backing
40 x 28 in
   179 Canal Installation, 2010 Untitled, 2010Untitled, 2010 Custom print on cotton, pigment print, plexi, hardware
67 x 49 inches each
Chuchela, 2010Chuchela, 2010 Archival inkjet print
44 x 66 in
Untitled, 2010Untitled, 2010 Archival inkjet print
18 x 12 inches
179 Canal Install179 Canal Install Custom textile, international foods, vitrine    Neither For a Village Nor For a City, 2009 Screensaver, 2009Screensaver, 2009 Projection, screen, metal hardware Neither For a Village Nor For a CityNeither For a Village Nor For a City Muslin, house paint & collage Chuchela, 2009 Chuchela, 2009 Acrylic on inkjet prints      Buckwheat Chuchela, 2009Buckwheat Chuchela, 2009 Buckwheat & acrylic on canvas
30 x 24 in

Trading House Moscow, 2008 Trading House Moscow, 2008 Oil on shrink wrapped canvas
40 x 30 in