Stephanie Syjuco: Artwork Survey: 2010s

Artwork Survey: 2010s

Stephanie Syjuco

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Particulate Matter: Things, Thingys, Thingies
Installation view at Gallery 400, Chicago
2010
Handmade fabrications of anonymously-designed and unknown digital objects found on a public database
Mixed media (cardboard, foamcore, colored paper, fabric), wooden pallets, digital video projection, exhibition checklist
dimensions variable
Courtesy of the artist and the University of Illinois Chicago

© Stephanie Syjuco
Particulate Matter: Things, Thingys, Thingies (detail)
Installation view at Gallery 400, Chicago
2010
Handmade fabrications of anonymously-designed and unknown digital objects found on a public database
Mixed media (cardboard, foamcore, colored paper, fabric), wooden pallets, digital video projection, exhibition checklist
dimensions variable
Courtesy of the artist and the University of Illinois Chicago

© Stephanie Syjuco
RAIDERS: International Booty, Bountiful Harvest (Selections from the Collection of the A____ A__ M_____)
Installation view at Catharine Clark Gallery, San Francisco
2011
Digital archival photos downloaded and printed from a museum database without permission, mounted onto lasercut wood, hardware, crates
dimensions variable
Courtesy of the artist and Catharine Clark Gallery, San Francisco

© Stephanie Syjuco
RAIDERS: International Booty, Bountiful Harvest (Selections from the Collection of the A____ A__ M_____) (detail)
Installation view at Catharine Clark Gallery, San Francisco
2011
Digital archival photos downloaded and printed from a museum database without permission, mounted onto lasercut wood, hardware, crates
dimensions variable
Courtesy of the artist and Catharine Clark Gallery, San Francisco

© Stephanie Syjuco
Shadowshop
Installation view: San Francisco Museum of Modern Art
2011
Five-month temporary vending installation featuring work by 200+ Bay Area artists addressing issues of commodification and the art world
Courtesy of the artist

© Stephanie Syjuco
Shadowshop (detail)
Installation view: San Francisco Museum of Modern Art
2011
Five-month temporary vending installation featuring work by 200+ Bay Area artists addressing issues of commodification and the art world
Courtesy of the artist

© Stephanie Syjuco
notMoMA
2011
Partial installation view at Washington State University Pullman, Washington, showing thirty-two student-made approximations of iconic artworks in the collection of The Museum of Modern Art New York
Courtesy of the artist

Instructions for the activation of this project in the permanent collection of the Portland Museum of Art
Photo: Stephanie Syjuco
FREE TEXTS: An Open Source Reading Room
Installation view: ZERO1 Garage
2012 – ongoing
Bulletin board featuring flyers that offer texts on copyright and the commons; reading area, production desk, bookshelves, thermal-bound books, and ongoing PDF collection
Commissioned by the ZERO1 Biennial, San Jose, CA (September 12-December 5, 2012)

© Stephanie Syjuco
FREE TEXTS: An Open Source Reading Room (detail)
Installation view: ZERO1 Garage
2012 – ongoing
Bulletin board featuring flyers that offer texts on copyright and the commons; reading area, production desk, bookshelves, thermal-bound books, and ongoing PDF collection
Commissioned by the ZERO1 Biennial, San Jose, CA (September 12-December 5, 2012)

© Stephanie Syjuco
Cargo Cults: Object Agents
Installation view: Bemis Center for the Contemporary Arts, Omaha, NE
2013
Mixed media sculpture, installation, and prints
dimensions variable
Courtesy of the artist

© Stephanie Syjuco
Ornament + Crime (Villa Savoye)
2013
Digital model of Le Corbusier’s iconic building, Ville Savoye, wrapped in French colonial-era textile patterns (Vietnamese, Algerian and Moroccan)
HD video of digital 3D animation with audio
22 minutes
Courtesy of the artist

© Stephanie Syjuco
This is Not the Berlin Wall
2014
Hand-painted false souvenirs of the Berlin Wall made from Soviet-era buildings and rubble in Poland, to be inserted into the market as the "real" thing; produced on-site using locally-sourced materials, poster paint, and color laserjet prints
Courtesy of the artist

Produced at Kronika Center for Contemporary Art, Bytom, Poland
© Stephanie Syjuco
Market Forces
Installation view: Temple Contemporary art gallery at Temple University, Philadelphia, PA
2014
Participatory installation, Powerpoint presentations, and workshops featuring hundreds of paper reproductions of Philadelphia black market items, and the circulation of an alternate currency
dimensions variable
Courtesy of the artist

Created in collaboration with students from the Fox School of Business and Tyler School of Art Printmaking Department, organized by Amze Emmons
Photo: Stephanie Syjuco

© Stephanie Syjuco
Market Forces (detail, students at work)
Installation view: Temple Contemporary art gallery at Temple University, Philadelphia, PA
2014
Participatory installation, Powerpoint presentations, and workshops featuring hundreds of paper reproductions of Philadelphia black market items and the circulation of an alternate currency
dimensions variable
Courtesy of the artist

Created in collaboration with students from the Fox School of Business and Tyler School of Art Printmaking Department, organized by Amze Emmons
Photo: Stephanie Syjuco

© Stephanie Syjuco
American Rubble (Lancaster Avenue)
(detail)
2014
Display cases, collected samples of urban rubble sourced from gentrifying areas of Philadelphia, archive labels, postcards with text written and researched by Haverford College students
Courtesy of the artist

Part of a Mellon Creative Fellowship Residency organized by Paul Farber at Haverford College, PA
© Stephanie Syjuco
American Rubble (Lancaster Avenue)
Installation view: Haverford College, Pennsylvania
2014
Display cases, collected samples of urban rubble sourced from gentrifying areas of Philadelphia, archive labels, postcards with text written and researched by Haverford College students
Courtesy of the artist

Part of a Mellon Creative Fellowship Residency organized by Paul Farber at Haverford College, PA
© Stephanie Syjuco
Modern Ruins (Popular Cannibals)
2014
Double-sided installation recreating iconic Modernist furniture and protest props, using cast-off materials scavenged from the dump
dimensions variable
Courtesy of the artist

Held in conjunction with a four-month residency at Recology San Francisco
© Stephanie Syjuco
Modern Ruins (Popular Cannibals)
(detail)
2014
Double-sided installation recreating iconic Modernist furniture and protest props, using cast-off materials scavenged from the dump
dimensions variable
Courtesy of the artist

Held in conjunction with a four-month residency at Recology San Francisco
© Stephanie Syjuco
Money Factory (An Economic Reality Game)
Installation view: Asian Art Biennial at the National Taiwan Museum of Fine Arts, Taichung, Taiwan
2015
Participatory installation and production space examining economic stagnation and consumer desire: offset prints, scissors, glue, tables, chairs
3000 square foot installation
Courtesy of the artist

© Stephanie Syjuco
Money Factory (An Economic Reality Game) (detail)
Installation view: Asian Art Biennial at the National Taiwan Museum of Fine Arts, Taichung, Taiwan
2015
Participatory installation and production space examining economic stagnation and consumer desire: offset prints, scissors, glue, tables, chairs
3000 square foot installation
Courtesy of the artist

© Stephanie Syjuco
Empire Gardens
Installation view
2015 – ongoing
Research project involving growing crops significant to the formation of historical empire, colonization, and the Industrial Revolution
Photographic lighting kits, mylar, grow bulbs, timers, hardware, furniture, and heirloom seeds including tobacco, indigo, poppy, cotton, and more
Courtesy of the artist

Photo: Stephanie Syjuco

© Stephanie Syjuco
Applicant Photos (Migrants) #3
2016
Archival pigment print
4 1/2 × 3 inches
Courtesy of the artist, Catherine Clark Gallery, San Francisco, and RYAN LEE Gallery, New York

© Stephanie Syjuco
Cargo Cults (Cover-Up)
2016
From the series "Cargo Cults," this work revisits historical ethnographic studio portraiture via fictional display: using mass-manufactured goods purchased from American shopping malls and restyled to highlight popular fantasies associated with “ethnic” patterning and costume
Archival pigment print
20 × 15 inches
Courtesy of the artist, Catherine Clark Gallery, San Francisco, and RYAN LEE Gallery, New York

© Stephanie Syjuco
Cargo Cults (Headbundle)
2016
From the series "Cargo Cults," this work revisits historical ethnographic studio portraiture via fictional display: using mass-manufactured goods purchased from American shopping malls and restyled to highlight popular fantasies associated with “ethnic” patterning and costume
Archival pigment print
40 × 30 inches
Courtesy of the artist, Catherine Clark Gallery, San Francisco, and RYAN LEE Gallery, New York

© Stephanie Syjuco
Cargo Cults (Java Bunny)
2016
From the series "Cargo Cults," this work revisits historical ethnographic studio portraiture via fictional display: using mass-manufactured goods purchased from American shopping malls and restyled to highlight popular fantasies associated with “ethnic” patterning and costume
Archival pigment print
40 × 30 inches
Courtesy of the artist, Catherine Clark Gallery, San Francisco, and RYAN LEE Gallery, New York

© Stephanie Syjuco
Neutral Orchids (Phalaenopsis, small)
2016
Archival pigment print
20 × 15 inches
Courtesy of the artist and Catherine Clark Gallery, San Francisco

© Stephanie Syjuco
Neutral Calibration Studies (Ornament + Crime)
Installation view: Catherine Clark Gallery, San Francisco
2016
Wooden platform, neutral grey seamless backdrop paper, digital adhesive prints on lasercut wooden props, dye-sublimation digital prints on fabric, items purchased on eBay and Craigslist, photographic prints, artificial plants, live plants, neutral calibrated gray paint
10 × 20 × 8 feet
Courtesy of the artist and Catherine Clark Gallery, San Francisco

Photo: Stephanie Syjuco

© Stephanie Syjuco
Neutral Calibration Studies (Ornament + Crime) (detail)
Installation view: Catherine Clark Gallery, San Francisco
2016
Wooden platform, neutral grey seamless backdrop paper, digital adhesive prints on lasercut wooden props, dye-sublimation digital prints on fabric, items purchased on eBay and Craigslist, photographic prints, artificial plants, live plants, neutral calibrated gray paint
10 × 20 × 8 feet
Courtesy of the artist and Catherine Clark Gallery, San Francisco

Photo: Stephanie Syjuco

© Stephanie Syjuco
Visible Effects of the Invisible (Spanish Colonial Silver, Vitrine Fragment)
2017
Digital 3D captures of colonial-era decorative objects using a hand-held cellphone and restricted by museum photography rules, at the M.H. deYoung Museum, San Francisco
Courtesy of the artist

© Stephanie Syjuco
Chromakey Aftermath 1 & 2
Installation view of the exhibition "Stephanie Syjuco: CITIZENS" at RYAN LEE, New York
2017
Archival pigment prints
36 × 24 inches each
Courtesy of the artist and RYAN LEE Gallery, New York

Re-fabricated objects based on the physical residue found after public protests
© Stephanie Syjuco
Chromakey Aftermath 1
2017
Archival pigment print
36 × 24 inches
Courtesy of the artist and RYAN LEE Gallery, New York

Re-fabricated objects based on the physical residue found after public protests
© Stephanie Syjuco
Total Transparency Filter (Portrait of N)
2017
Archival pigment print
30 × 40 inches
Courtesy of the artist and RYAN LEE Gallery, New York

Portrait of an undocumented individual who received her college education through DACA (Deferred Action for Childhood Arrivals), and who’s status in the United States is now under threat; cloaked under protective anonymity, she occupies a tenuous space between invisibility and visibility
© Stephanie Syjuco
Ungovernable (Hoist) (left) and Ungovernable (Fold) (right)
Installation view of the exhibition "Stephanie Syjuco: CITIZENS" at RYAN LEE, New York
2017
Sewn muslin and steel armatures
dimensions variable
Courtesy of the artist and RYAN LEE Gallery, New York

© Stephanie Syjuco
Total Transparency Background (detail)
Installation view of the exhibition "Stephanie Syjuco: CITIZENS" at RYAN LEE, New York
2017
Sewn quilted cotton
13 × 26 feet
Courtesy of the artist and RYAN LEE Gallery, New York

© Stephanie Syjuco
Total Transparency Background (detail)
Installation view of the exhibition "Stephanie Syjuco: CITIZENS" at RYAN LEE, New York
2017
Sewn quilted cotton
13 × 26 feet
Courtesy of the artist and RYAN LEE Gallery, New York

© Stephanie Syjuco
CITIZEN (Portrait of S)
2017
A series of fictional portraits of anti-fascist activists, developed with and modeled by students who witnessed campus protests
Archival digital print
30 × 40 inches
Courtesy of the artist and RYAN LEE Gallery, New York

© Stephanie Syjuco
CITIZEN (Portrait of P)
2017
A series of fictional portraits of anti-fascist activists, developed with and modeled by students who witnessed campus protests
Archival pigment inkjet
40 × 30 inches
Courtesy of the artist and RYAN LEE Gallery, New York

© Stephanie Syjuco
CITIZEN (Portrait of R)
2017
A series of fictional portraits of anti-fascist activists, developed with and modeled by students who witnessed campus protests
Archival pigment inkjet
40 × 30 inches
Courtesy of the artist and RYAN LEE Gallery, New York

© Stephanie Syjuco
I Am An…
Installation view of the exhibition "Stephanie Syjuco: CITIZENS" at RYAN LEE, New York
2017
An inverted copy of a sign posted by a Japanese American business owner in Oakland, California following the bombing of Pearl Harbor; the original photograph was taken by Dorothea Lange, and the shopkeeper was subsequently taken to an internment camp despite his plea of citizenship
Sewn cotton panel on moveable ceiling track
9 × 24 feet
Courtesy of the artist and RYAN LEE Gallery, New York

© Stephanie Syjuco
Rogue States
Installation view of the exhibition "This Site is Under Revolution" at the Moscow Museum of Modern Art
2018
A configuration of fictional flags of made-up countries from Africa, the Middle East, Asia, Eastern Europe, and Central and South America, all culled from American and European movies that position these countries as terrorist, backward, resistant, or unstable
Twenty-two digitally printed flags
5 × 3 feet each
Courtesy of the artist

© Stephanie Syjuco

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Artwork Survey: 2010s

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