Selected Work

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Basins of Attraction, 2023
Installation View, Carlos/Ishikawa, London

Sixty-three surveillance cameras dismounted from a New York City Department of Citywide Administrative Services facility sit together on a low plinth, facing upwards. They were purchased as a unit from a public auction with no indication of where the cameras were formerly used. Each camera is labelled with sequential numbers indicating they were from one site. Their tinted dome protectors have been removed. Seen from above, each of the cameras appear paused mid-action. Minute variations in their degrees of angle indicate former positions perceived as interesting by a device tasked with recording and safeguarding a site. In this exhibition, the cameras exist as one example of a site-user condition. In their object form as constant and lens angle as variable, their tracing of a site through repetition and multiplicity begins to capture the phenomena of recollection.

Ten photographs taken in the storage archives at the Archaeological Park of Pompeii are displayed alongside the cameras. Each image documents a mailed letter of apology accompanied by a fragment of the archaeological park. Each of these letters arrived by mail over the years at the archaeological site, sent by its past visitors. Such mail correspondence still comes to the archaeological park today. The letters ask for the ‘artifacts’ to be placed back in their respective locations. However, these removed parts are just small rocks, pieces of an unidentifiable mosaic, or ashes from the volcanic debris. They have no obvious home. In their multiplicity of sentiment and action, the returned fragments-turned-artifacts and testimonies from different beholders demonstrates a cycle that in itself makes a new site for an object displaced. They enter the archive as both imposters to antiquity and witnesses of the strange dynamics that the contemporary traces when it moves across the ruins of the past.

The objects displayed here are selective but particular. They exist in a loop of emotion and transaction. Through removal from their designated place in time and isolation from their source, they are fractals that pose new ways of defining their source. This exhibition focuses on iterations of place through site specific descriptions which are seen through both physical objects and personal testimonies.

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Exhibitions at Carlos/Ishikawa

Rose Salane
Basins of Attraction
16 Mar – 22 Apr 2023
Rose Salane
All These Events Are True, But None of Them Happened
1 Mar – 14 Apr 2018

Selected Press & Texts

Selected Publications

CV

b. 1992, USA
Lives and works in New York

2014, BFA Fine Arts, Cooper Union
2019, MA Urban Planning, Bernard & Anne Spitzer School of Architecture, CUNY

Selected Solo Exhibitions

2024
Fission or, Eclipse, The Athenaeum, Lamar Dodd School of Art, University of Georgia, Athens, GA
Eight Vows, TANK, Shanghai

2023
Basins of Attraction, Carlos/Ishikawa, London

2021
C21OWO, Hessel Museum of Art, Bard College, Annandale-On-Hudson, New York

2019
MIT List Visual Arts Center, Cambridge, Massachusetts

2018
Indigo 237, Carlos/Ishikawa at Company, Condo New York
All These Events Are True, But None of Them Happened, Carlos/Ishikawa, London

2015
High From the Other Side, Jeffrey Stark, New York
Who Isn’t Seeing Someone?, Four A.M., New York

2014
The Stairwell, Cooper Union, New York
The Collection, Cooper Union, New York

Selected Group Exhibitions

2025
Ways of Knowing, The Walker Art Center, Minneapolis (forthcoming)

2024
Rapture, Galerie Balice Hertling, Paris
A Tribute to Nancy Grossman (Grand Gallery), National Arts Club, New York
Family Recipe, Commonwealth and Council, Los Angeles

2023
Like Magic, The Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts
Stories of Stones, Villa Medici, The Academy of France in Rome
The Back End, The George Segal Gallery, Montclair State University, Montclair, New Jersey
Taking Notes, Galerie Sophie Tappeiner, Vienna
Inside/Outside, Santa Barbara Museum of Art
Beyond a Certain Point There Is No Return, Tlön Projects, Rotterdam

2022
Fear of Property, The Renaissance Society, University of Chicago
Whitney Biennial: Quiet as It’s Kept, Whitney Museum of American Art, New York
Return Sale, Abrons Arts Center, New York
Holding On To It, Heidi Gallery, Berlin

2021
New Museum Triennial: Soft Water and Hard Stone, New Museum, New York
Vegyn, Anonymous Gallery, New York
Tacet, Gems, New York
De Por Vida, Company, New York

2019
Forget Sorrow Grass: An archaeology of Feminine Time, Guangdong Times Museum, Guangzhou, China
Fixing the “not… but”, LC Queisser, Tbilisi, Georgia

2018
The Hard Facts on Tragedy in April, Lomex, New York

2017
The Skies and the Atmosphere’s Most Luscious, Allen and Eldridge at James Fuentes Gallery, New York

2016
Trust Issues (curated by Ryan Steadman), Ronchini Gallery, London
Spring Awakening, Francesca Pia, Zurich
No Hope, No Fear (curated by Daniel Peterson), Swiss Institute, Rome

2015
The Written Trace (curated by Ariella Wolens), Paul Kasmin Gallery, New York

Selected Artist Talks

2024, The Cooper Union for the Advancement of Science and Art, New York
2024, The Athenaeum, Lamar Dodd School of Art, University of Georgia, Athens, GA
2023, Weitzman Fine Arts Virtual Lecture Series, University of Pennsylvania
2023, Virginia Commonwealth University School of the Arts, Richmond
2023, Yale University, New Haven
2022, School of Visual Arts, New York
2022, Columbia University, New York
2022, Hunter College, City University of New York
2022, Rose Salane: Lost & Found, Rose Salane in conversation with Jurrell Lewis (Art21), The Whitney Museum of American Art, New York
2020, The Savannah College of Art and Design
2019, Rose Salane in conversation with Carol Paszamant, MIT List Visual Arts Centre
2018, On Timing / On Search / On eBay / On Value / On Icons / On Autographs / On Authenticity, Rose Salane, hosted by Ian Wooldridge, Zurich University of the Arts (ZHdK)

Selected Awards

2022, The Pollock-Krasner Foundation Grant

Selected Residencies

2023, Villa Médicis, Académie de France, Rome
2023, Print Catalyst, Yale University, New Haven, CT
2022, Pompeii Commitment: Materie archeologiche / Archaeological Matters, Archaeological Park of Pompeii

Selected Public Collections

The Whitney Museum of American Art, New York
Santa Barbara Museum of Art

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