ROCHELLE GOLDBERG WINS THE BFSP#03

Rochelle Goldberg (1984, Vancouver, CA) earned her MFA from Bard College (NY), and currently lives and works in Berlin. She was the recipient of the 2015 Louis Comfort Tiffany Award, and was the Artist-in-Residence at the Atelier Calder in the Spring of 2017. Recent solo exhibitions include The Plastic Thirsty, SculptureCenter, New York; A Worm Filled Body, Parisian Laundry, Montreal; No Where, Now Here, GAMeC, Bergamo; Intralocutors, Miguel Abreu Gallery, New York; Pétroleuse, Éclair, Berlin; 1000 “emotions”, Federico Vavassori, Milan. Selected group exhibitions: Artists Institute, NY; Manoir de la Ville de Martigny; Kunstverein Dortmund; Whitney Museum of American Art, New York; Okayama Art Summit, Okayama; Front Desk Apparatus, New York; What Pipeline, Detroit; Fondation d'entreprise Ricard, Paris; Atelier Calder, Saché; WeissFalk, Basel; Oracle, Berlin; Catriona Jeffries, Vancouver.

Forthcoming projects will include a residency at the Chinati Foundation, Marfa, Texas (2018) and solo exhibitions at Casa Masaccio, San Giovanni Valdarno (2018) and The Power Station, Dallas (2019).

ROCHELLE GOLDBERG IS THE WINNER OF THE THIRD EDITION OF THE BATTAGLIA FOUNDRY SCULPTURE PRIZE
Rochelle Goldberg wins a bursary, an artist-residency in the historical Fonderia Artistica Battaglia and an exhibition of the winning artwork produced during the residency. The exhibition will open in April 2019, during the next edition of Miart, Milan’s Contemporary Art Fair.

The theme of the third edition of the BFSP, the Skin, focuses on the great potential of surface translation of lost-wax bronze casting. Since ancient times all materials were converted into bronze to achieve accuracy of material textures into bronze sculpture interpretation. Investigating both organic textures and artificial ones, we invited the selected artists to reflect upon the dialogue that can be created between a form and its surface, through the positive and negative translations intrinsic in the lost-wax process.

After a careful analysis of the finalists’ projects, selected by 10 international advisors, the Jury of the BFSP announced that the winner of the BFSP#03 is Rochelle Goldberg (1984, Canada) with the project “Intralocutors”, selected for the artistic research process and coherent reflection within this year’s theme, translating an iconic image into a further state, through various surface contact layers.

The Jury considered "Intralocutors" the most coherent project to the theme of the BFSP#03 call as it works as an active intervention, both technical and conceptual, on a pre-existing ceramic model: a fully developed sculptural approach, deeply relevant for what concerns materiality and the lost-wax technical process, taken to a further level of understanding within the positive/negative steps.
Rochelle Goldberg’s work “stages sculptural topographies composed of living, ephemeral, and synthetic materials”.

As the artist states in the BFSP #03 proposal:

“ Intralocutors, is a project that re-assigns agency to written-over subjects in the face of falsely ascribed mythology. It is engaged through materializing a composite figure that activates an absent position. If many women over time were compressed into the role of one Mary, then Mary too can be many as we try again to meet her.
Mary of Egypt, popularly pillars forth evoking self-preservation as brutality, the patron saint of flesh, specifically carnal flesh and its abandonment, leaves a legacy misunderstood as a mutual rejection between her corporeal-self and the world, rather than her own decisive action. Through her desert entry, she escapes the material world that she no longer needs to ‘know.’
Her forlorn figure has become an emblem for the possibility to choose both love and peace and the further possibility to both choose and reject the world for which we live in. Over time her weathered flesh layers as her environment so that her environment, the desert, in turn, becomes her flesh––a hybrid surface that conveys the accumulation of contact a body endures through time. Her resurrection signals the return to say “hello,” “hello I am here,” “hello she will be here,” “hello they have always been here.”
The Intralocutor wears herself, her world, and everything she touches, thousands of years of material refinement in the lost-wax-bronze casting
process are pressed up against how our ideas of skin, surface, protection, survival, body, gender, and life have changed and will continue to change.
INTRALOCUTORS
Intralocutors, is a project that re-assigns agency to written-over subjects in the face of falsely ascribed mythology. It is engaged through materializing a composite figure that activates an absent position. If many women over time were compressed into the role of one Mary, then Mary too can be many as we try again to meet her. Mary of Egypt, popularly pillars forth evoking self-preservation as brutality, the patron saint of flesh, specifically carnal flesh and its abandonment, leaves a legacy misunderstood as a mutual rejection between her corporeal-self and the world, rather than her own decisive action. Through her desert entry, she escapes the material world that she no longer needs to ‘know.’ Her forlorn figure has become an emblem for the possibility to choose both love and peace and the further possibility to both choose and reject the world for which we live in. Over time her weathered flesh layers as her environment so that her environment, the desert, in turn, becomes her flesh––a hybrid surface that conveys the accumulation of contact a body endures through time. Her resurrection signals the return to say “hello,” “hello I am here,” “hello she will be here,” “hello they have always been here.” As the Intralocutor wear’s her self, her world, and everything she touches, thousands of years of material refinement in the lost-wax-bronze casting process are pressed up against how our ideas of skin, surface, protection, survival, body, gender, and life have changed and will continue to change. 

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