June 3rd - June 7th, 2016
Neu Girls Art Fellows has provided a scaffold of experiences for eight Northside girls ages 8-13 to build new friendships through collaboration, develop technical skills, and explore creative processes such as photography, printmaking, and zine making. Throughout the ten month program the girls have worked closely with eighteen local teaching artists to discover the possibilities for personal and creative transformation through generative art processes. This exhibition presents the broad portfolio of work created during the Neu Girls program.
Neu Girls is supported by the Hive Fund for Connected Learning at The Sprout Fund.
The Seen and The Unseen: Three Artists visualizing the Boundary of Place and space
April 1 – May 27, 2016
Matthew Conboy, Lori Hepner, and Jimmy Riordan each present new art projects that question the boundary of space and place as it relates to experienced environments. Be it Beijing, the Arctic, or Pittsburgh, the position of each artist, both logistically and socially, becomes integral to influencing our understanding of location. A boundary that straddles degrees of narrative, voyeurism, perspective, and medium platform, these works expose the manipulatable and transitory reality of every place that we stand.
- March 18, 2016
The Bach Emerging Residency welcomes artist Kelly McDowell. During her residency she is collaborating with local Pittsburgh artist Celeste Neuhaus on a series of performance based works forCompliance/Restistance, an event curated with Adam Welch debuting at Neu Kirche. The project draws from common themes regarding gender, the body and human connectivity, and will be on display in the gallery through Friday March 18.
Like a Body Without Skin
In the early 1980s German artists Hilla and Bernd Becher, as part of their on going documentation of declining industries, photographed extensively in Pennsylvania, particularly the many blast furnaces and other steel related industries that lined Pittsburgh’s river ways. They described the blast furnace as “like a body without skin. Its insides are visible from the outside; organs, arteries and skeleton creates its form”. Taking part of the Becher’s description as its title, this exhibition addresses the relationships between steel manufacturing industries and their mobilisation into a united national front that produced everything from planes to bombs during WWII. The focus here concerns not so much the role steel manufacturing has in America’s WWII ideologically driven narratives, but rather how these manifest in the present, meaning how the remnants of these industries might operate as a form of memorial to a historical past that is still lived today. Accordingly, Like a Body Without Skin brings together archival imagery with present-day photographing/filming of Carrie Furnace, a former blast furnace in Rankin, Pittsburgh. The residues of this site are positioned with a voice recording that describes the affects of the 1945 WWII incendiary-bombing of Tokyo, where civilians were reduced to ‘bodies without skin’ due to the intensity of fire produced from the steel clad cluster munitions. These remnants of both the site of Carrie Furnace and the recorded narrative work together to stutter sanctioned historical, ideological and political discourses associated with how the Asia Pacific Theatre of WWII is memorialised, remembered, narrated and imaged.
This exhibition also explores documentary practice itself, particularly how lens-based artworks can visualise the nuanced complexities of this specific layered history. These artworks focus on the potential slippages between images and their meanings, between images and culturally embedded events, between what can be seen and what can be said. This raises questions concerning how to become present to this history, to what it holds, to what it can teach of the ways the residues of historical acts hide within the present. Ultimately this exhibition asks its viewers to listen and “to look in to images to see that of which they are survivors. So that history, liberated from the pure past (that absolute, that abstraction), might help us to open the present of time”. In effect by bringing together the site of Carrie Furnace with WWII traumas, Like a Body Without Skin grapples with how to visualise not only different versions of established histories, but also to imagine potential futures that essentially challenge the continued presence of what remains an unresolved yet defining past.
 Becher, Hilla and Bernd. Blast Furnaces, MIT Press Massachusetts, 1990.
 Didi-Huberman, Georges. Images in Spite of All: Four Photographs from Auschwitz. Chicago: University of Chicago Press, 2008.
In the Making 2015
August 29 - October 31, 2015
In the Making highlights the creative processes used by the ten local, national and international artists participating in Neu Kirche’s public art programs, Fallow Grounds and Neu City. This exhibition brings together the research, ideas and community involvement to document the activity that has taken place throughout the neighborhood over the past 5 months. A shared mission for both programs is to make the process of artistic production both visible and accessible while creating a new cultural vibrancy in partnership with the community. Artists responded to the East Deutschtown landscape and established connections with residents which ultimately informed their project outcomes. This interactive exhibition encourages visitors to explore the artist’s creative process and view artifacts from their site specific works. The exhibition emphasizes the nuances in the developmental process, ranging in focus from material choices to community participation.
Fallow Grounds for Sculpture:
July 11- August 14, 2105
Verklären -German (verb); Transfigure- is an evolving five week exhibition that utilizes the gallery as an open laboratory. Through an evolving process, Lorenzo explores rhythmic and cyclical patterns with projected graphics and sound to create an immersive sensory experience. Verklären considers our building’s architectural and social contexts while re-imagining historical narratives.
Lorenzo was born and raised in Gettysburg, Pennsylvania. He graduated with a Bachelor of Science in Graphic Design from the Art Institute of Pittsburgh in 2007. He currently lives and works in Pittsburgh, PA.