SAPAR Contemporary

SAPAR Contemporary SAPAR is dedicated to exhibiting and promoting the work of mid-career contemporary artists. SAPAR Contemporary launched a nomadic incubator program in 2015.
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SAPAR Contemporary Gallery + Incubator is the brainchild of Raushan Sapar and Nina Levent. The project that has been in the works since 2014 while we were looking for a space that was in line with our vision. The gallery has finally acquired a ground floor space at 9 North Moore Street and renovated this older traditional Tribeca space into a modern sunlit gallery space that respects the architect

ural legacy of the neighborhood and retains its original charm. SAPAR Contemporary artists span three generations and five continents. They engage in global conversations and develop vocabularies that resonate as strongly in Mumbai, Almaty and Istanbul as they do in New York, Berlin and Mexico City. Their artistic practices vary from meditative traditional ink painting to writing programming code; what connects them are the artists’ capacity for empathy, insight, and imagination, their whimsy and generosity of spirit, as well as the rigor and depth of their studio practice. The Incubator program, residencies and group shows offer a unique lens that is immediate and global, future-oriented and accessible, multi-sensory and immersive. The gallery program brings together visual artists and creative minds of all disciplines: scientists, engineers, architects, performers, musicians and perfumers. SAPAR Contemporary artists’ works have been featured in international Biennials and are included in private and public collections around the world; among them are the MoMA, LaCMA, Tate Modern, Centre Pompidou, the Smithsonian and many others. SAPAR Contemporary commissions works that are site-specific to New York, but infused with sensibilities, materialities and traditions of the artists’ backgrounds. The Gallery does not accept unsolicited portfolios.

Take a look at Sofia Cacciapaglia’s process when starting a new work on cardboard. Cacciapaglia began working with disca...
07/19/2024

Take a look at Sofia Cacciapaglia’s process when starting a new work on cardboard. Cacciapaglia began working with discarded cardboard boxes after she noticed them accumulate outside the shops near her studio. Once emptied of consumer goods and dispensed with as waste, Cacciapaglia gives the material new life. Every fold and crease of the flattened boxes are apparent as the material holds the memory of its former shape and utility. Some grooves are more pronounced than others, holding deeper memory and a deeper history. The system of creases and folds creates a grid-like pattern, but one that defies the rigidity of modernism. The artist relishes this effect, likening the linear pattern to windowpanes out which the viewer gazes onto a garden. However, the illusion is always tenuous. Flaps of cardboard create gaps and fissures that pull the viewer back to a material reality.

Cacciapaglia began working with discarded cardboard boxes after she noticed them accumulate outside the shops near her s...
07/18/2024

Cacciapaglia began working with discarded cardboard boxes after she noticed them accumulate outside the shops near her studio. Once emptied of consumer goods and dispensed with as waste, Cacciapaglia gives the material new life. Every fold and crease of the flattened boxes are apparent as the material holds the memory of its former shape and utility. Some grooves are more pronounced than others, holding deeper memory and a deeper history. The system of creases and folds creates a grid-like pattern, but one that defies the rigidity of modernism. The artist relishes this effect, likening the linear pattern to windowpanes out which the viewer gazes onto a garden. However, the illusion is always tenuous. Flaps of cardboard create gaps and fissures that pull the viewer back to a material reality.

More watercolors from the series: MoMA, The Picture Looks at Me. Saule Dyussenbina is a Kazakh multimedia artist known f...
07/11/2024

More watercolors from the series: MoMA, The Picture Looks at Me.

Saule Dyussenbina is a Kazakh multimedia artist known for her whimsical revisions of Western art history and humorous inserts of Central Asian culture, Asian female artists and herself into the male dominated Western canon. In her paintings, watercolors, prints and animations she addresses feminism, urbanism, Central Asian identity, and the role of the artist through the prism of her nomadic heritage.

MoMA, The Picture Looks at Me series was inspired by a visit to the MoMA in 2022. Saule found it interesting to watch vi...
07/10/2024

MoMA, The Picture Looks at Me series was inspired by a visit to the MoMA in 2022. Saule found it interesting to watch visitors interact with the art and enter into a dialogue. She captures these moments while also including her humor in these watercolors.

Amanda allows the paintings to unfold their own structures, responding to them as they are made. The process of painting...
07/06/2024

Amanda allows the paintings to unfold their own structures, responding to them as they are made. The process of painting mirrors the process of their reading; ones perception evolves over time, adding a temporal aspect to the work that is unique to each viewer and is dependent on what they are bringing to that particular viewing.

More from Amanda Reeves studio! Since graduating with honors from Ontario College of Art & Design University in 2005, Re...
07/05/2024

More from Amanda Reeves studio! Since graduating with honors from Ontario College of Art & Design University in 2005, Reeves has participated in numerous exhibitions. Her work is in the collections of the Bank of Montreal, Royal Bank of Canada, Medcan, Census Energy and EQ Bank, as well as private collections in Australia, Canada, Mexico, England and the U.S. Amanda was born in England, educated in Canada and now lives and works in the San Francisco Bay Area.

New work from Amanda Reeves studio in California to Sapar Gallery!  Using color as a signifier Amanda plays upon individ...
07/04/2024

New work from Amanda Reeves studio in California to Sapar Gallery!

Using color as a signifier Amanda plays upon individual responses in a manner that leaves meaning open ended. In these paintings the physicality of the shapes and their inferred relationship to the body reflects the sensuality of paint and the beauty of uncomfortable color. The spatial and color relationships within the paintings shift and expand in association with paired and surrounding works, extending perception beyond the frame.

From the artist’s studio to the gallery - Affresco su Cartone is on view through July 27th! Repost from •Shooting day fo...
07/03/2024

From the artist’s studio to the gallery - Affresco su Cartone is on view through July 27th!

Repost from

Shooting day for the new paintings ready to leave..

“AFFRESCO SU CARTONE”
Opening June 13th
NY NY 🌇🌉🌆

Until the end of July

Exhibition coming up!!




Photos

Last works from the Moods and Ulaanbataar series!  Uuriintuya Dagvasambuu’s works are included in the collection of the ...
07/02/2024

Last works from the Moods and Ulaanbataar series!

Uuriintuya Dagvasambuu’s works are included in the collection of the Dallas Museum of Art, Allen Memorial Art Museum at Oberlin College, Smith College Museum of Art, Johnson Museum of Art at Cornell University, Hood Museum of Art at Dartmouth, Queensland Art Museum in Australia, Fukuoka Asian Art Museum in Japan.

06/21/2024

Affresco Su Cartone: Sofia Cacciapaglia (Italy) is on at SAPAR Contemporary through July 27

"Cacciapaglia is a bit of an alchemist. She transforms carboard boxes and packaging paper—inexpensive materials meant to protect precious goods during transit—into prized possessions unto themselves."

https://www.saparcontemporary.com/exhibitions #/affresco-su-cartone-sofia-cacciapaglia

05/24/2024

In her 70+ year career, Yvonne Pacanosky Bobrowicz helped pioneer fiber art as fine art, teaching for decades at Drexel University and entering both corporate and public collections. Two years after she passed away at the age of 94, Pacanosky Bobrowicz’s beautiful and complex sculptural work is on view at Sapar Contemporary SAPAR Contemporary in Tribeca. Created from knotted monofilament which she mixed with fiber and gold leaf, the artist’s signature ‘cosmic energy fields,’ as she called them, express her fascination with physics and philosophy. (On view through June 1st).

Yvonne Pacanosky Bobrowicz, Cosmic Series Amber, 16 x 14 x 4 inches, monofilament, 2015.

Catch Uuriintuya Dagvasambuu’s “Zoom” (pictured above), alongside a curated collection of exceptional works by talented ...
02/03/2024

Catch Uuriintuya Dagvasambuu’s “Zoom” (pictured above), alongside a curated collection of exceptional works by talented women artists at our Tribeca gallery space – on display for the next couple weeks.

WAONE (Ukraine), “Melody of Unknown Moments,” 2021.
02/01/2024

WAONE (Ukraine), “Melody of Unknown Moments,” 2021.

Only a couple more weeks left to catch “Awaiting Peace” and other works by Ukrainian artist Waone at our gallery space i...
01/30/2024

Only a couple more weeks left to catch “Awaiting Peace” and other works by Ukrainian artist Waone at our gallery space in Tribeca NYC.

“The Listening Room” by Ukrainian artist WAONE draws inspiration from Magritte’s work of the same title, blending surrea...
01/28/2024

“The Listening Room” by Ukrainian artist WAONE draws inspiration from Magritte’s work of the same title, blending surrealism with a unique cultural resonance.

Repost  Recent “drawing” from/with orifices, slits, apertures—portals bw worlds & bodies. Let’s remember that the other ...
01/26/2024

Repost

Recent “drawing” from/with orifices, slits, apertures—portals bw worlds & bodies. Let’s remember that the other worlds into which you are invited can be entirely grasped; differences and incommensurabilities remain. As Salman Rushdie reminds in “Midnite’s Children”, “To know me, you have to swallow entire worlds.”

I am adapting/abstracting the Chinese paper cutting tradition which uses very thin rice paper. This artform influenced the MesoAmericans’ craft of perforated paper (papel picado) which is most commonly seen around Day of the Dead. I prepare my interfaces/substrates by blowing pigment onto wet rice paper. As the pigment runs it carries the trace of my breath. Cutting the paper requires a steady hand so I do this in the morning when I have the most energy (perhaps I should have been a surgeon!).

Bilgé Friedlaender, “Weightless Pink,” 1975.Her deep diving experience in 1974 led the artist to a deep shift in her pra...
01/23/2024

Bilgé Friedlaender, “Weightless Pink,” 1975.

Her deep diving experience in 1974 led the artist to a deep shift in her practice - she now worked to “depict the spaceless-ness of space, paintings that are non-paintings,” in an effort to visually reflect her own spiritual experiences. In the next years she developed an extremely minimal but delicate repertoire of form that she used with poetic imagination. These works that seem extremely fragile, made with materials such as watercolors, pastel, and ink on handmade paper, threads, strings, and torn paper, at times draws our attention to the mutation of forms, and at times invite nuanced contemplations on our interdependency with nature.

Vedic Squares by Bilgé Friedlaender in the collection of St. Olag College.Friedlaender (1934 - 2000) was a Turkish-Ameri...
01/17/2024

Vedic Squares by Bilgé Friedlaender in the collection of St. Olag College.

Friedlaender (1934 - 2000) was a Turkish-American artist who extensively explored the sensual, spiritual connections through her artistic experiments of geometric abstraction. In her long and prolific career, such an exploration developed into her minimalist visual language: with extreme attention to the nuances of color and texture, exploration of shades of white, layered and torn paper, shadows cast by wire or edges, and painted illusions of shadows and edges that are so subtle that they are only revealed upon very close investigation.

Bilgé Friedlaender’s untitled mutated square with torn note, currently in RISD’s collection. Through floating squares an...
01/15/2024

Bilgé Friedlaender’s untitled mutated square with torn note, currently in RISD’s collection.

Through floating squares and poetically ambivalent lines, in superimpositions of fractal paper tears and painted illusions, by contrasting black on black and by sculpting shadows of white, Bilgé takes us on an experiential, philosophical journey through her soulful universe.

F**g Ahmed, “Solids in the frame,” 2014.
01/12/2024

F**g Ahmed, “Solids in the frame,” 2014.

F**g Ahmed, “Nizami Ganjavi,” 2021.Ahmed (Sumqayit, 1982) lives and works in Baku, Azerbaijan. He is well known for his ...
01/10/2024

F**g Ahmed, “Nizami Ganjavi,” 2021.

Ahmed (Sumqayit, 1982) lives and works in Baku, Azerbaijan. He is well known for his conceptual works that transform traditional decorative craft and the visual language of carpets into contemporary sculptural works of art. His art reimagines ancient crafts and create new visual boundaries by deconstructing traditions and stereotypes.

F**g Ahmed, “Subatomic Particle 2,” 2021. Ahmed is among a new wave of contemporary artists exploring crafts in innovati...
01/09/2024

F**g Ahmed, “Subatomic Particle 2,” 2021.

Ahmed is among a new wave of contemporary artists exploring crafts in innovative ways to produce conceptual works that break away from conventions associated with the craft, by bringing it into a global contemporary art context. Ahmed explores fresh new visual forms that examine tradition and challenge our perception of traditions through iconic cultural objects. The artist experiments with traditional materials and colors such as the rug weavings in Azerbaijan or Indian embroidery, yet he explains that “he is not interested in merging the past and present,” but is interested “in the past because it’s the most stable conception of our lives.”

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9 N. Moore Street
New York, NY
10013

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Tuesday 12pm - 6pm
Wednesday 12pm - 6pm
Thursday 12pm - 6pm
Friday 12pm - 6pm
Saturday 12pm - 6pm

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