2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Goings On: posted week of October 22, 2007

1. Leon Ferrari, FF Alumn, wins Golden Lion, top prize at the Venice Biennial
2. Franklin Furnace exhibition “History of Disappearance,” at Centro de Documentación de las Artes, Santiago, Chile, Oct 25, 2007 thru Feb 29, 2008
3. Nicolás Dumit Estévez, FF Alumn, in lower Manhattan, Oct 26, beginning at 9 am
4. Penny Arcade, Susana Cook, John Fleck, Peter Grzybowski, Jed Miner, Rev. Billy, Jack Waters, Martha Wilson, FF Alumns, in Globesity Festival, at the Theater for the New City, thru October 28
5. Diane Torr, FF Alumn, at University of London, UK, Oct 26
6. Helene Aylon, FF Alumn, at The Jewish Museum, NY, opening Oct 30, and more
7. Nina Kuo, FF Alumn, at Hatch-Billops Collection, NY, Oct. 28, 2 pm, and more
8. Judith Sloan, FF Alumn, at Lower East Side Tenement Museum, Oct 29, 7 pm
9. Erika Yeomans, FF Alumn, now streaming video on New York Magazine’s website
10. Sal Romano, FF Member, at Wooster Arts Space, NY, thru Oct 27
11. Wooloo Productions, FF Alumn, at White Box, NY, Nov 6, 7 pm
12. Laura Parnes, FF Alumn, at Kunsthalle Winterthur, Switzerland, thru December 2
13. Christa Maiwald at Sara Nightingale Gallery, Water Mill, NY, thru Nov 19
14. Marcus Young, FF Alumn, at Minneapolis College of Art & Design, thru Nov 25
15. Tim Miller, FF Alumn, at Wake Forest University, NC, Oct 23-Nov. 4, and more
16. Tom Trusky, FF Alumn, announces Idaho iPods project online
17. Joshua Fried, FF Alumn, at Lemurplex, Brooklyn, Oct 26
18. Lawrence Weiner, FF Alumn, in The New York Times, Oct 21
19. Halona Hilbertz, FF Alumn, at Joey, Manhattan, Oct 25, 10 pm
20. Shirin Neshat, FF Alumn, in The New Yorker, Oct 22, and online

1. Leon Ferrari, FF Alumn, wins Golden Lion, top prize at the Venice Biennale

On October 17th, 2007, the official website of the Venice Biennale (http://www.labiennale.org/en/news/art/en/78449.html) posted the following information:

The awarding ceremony of the 52nd International Art Exhibition of La Biennale di Venezia, chaired by Davide Croff, has taken place at the Teatro alle Tese dell’Arsenale di Venezia; more than 300 international guests from the national participations and the collateral events, artists and professionals have attended the event. For the first time ever, the awarding ceremony has been organised a month before the closing date of the exhibition, which has been Italy’s most visited art event, with more than 232,000 visitors in about 100 opening days.

While the Golden Lion for Lifetime Achievement has been assigned by the Board of Directors of the Biennale di Venezia to the artist Malick Sidibé (Soloba, Mali, 1936) at the Giardini della Biennale on June 10th, on the occasion of the official opening to the public, the International Jury, proposed by the 52nd International Art Exhibition Robert Storr and formed by Manuel J. Borja-Villel (president), Iwona Blazwick, Ilaria Bonacossa, Abdellah Karroum, and José Roca has today assigned four Golden Lions and two Honourable Mentions…

Golden Lion to an artist exhibited in the central international exhibition: “There is a body of work in the Arsenale that presents just some examples of a long and substantial career. The artist in question has continued a critical practice in the context of an often antagonistic political and social situation. He is given this award not only for his ethical attitude and political commitment, but also for a contemporary aesthetic relevance that is unexpected for a practice that spans six decades. The Golden Lion to an artist exhibited in the central International Exhibition is given to Leon Ferrari.”

Heartiest of congratulations Leon!


2. Franklin Furnace exhibition “History of Disappearance,” at Centro de Documentación de las Artes, Santiago, Chile, October 25, 2007 thru Feb 29, 2008

OPEN ARCHIVE #2: Utopias and the transference of information
Documental Exhibitions in the Art Documentation Centre

The exhibition “Multinode/Metagame” rescues a cybernetic system of information management and transference, created by President Salvador Allende’s government in Chile. The aim is to integrate all the governmental enterprises in a network system that works in real time and by means of an innovative technology known as Synco or Cybersyn.
25th October 2007 - 29th February 2008

Project Directors:
Enrique Rivera y Catalina Ossa (Or_am)

Museum Man presents “A History of Disappearance”, an archive curated by Martha Wilson. It rescues the idea of video as a bearer of ephemeral art works, born out of international performances from the 1970s up to the mid nineties, all within an alternative museum structure conceived by Adam Nankervis.
25th October 2007 - 13th December 2007.

Adam Nankervis (director Museum Man)
Alexia Tala (co-curador Museum Man Chile)

Curator History of Disappearance:
Martha Wilson (founding director, Franklin Furnace Archive, NY)

Art Documentation Centre.

Two years after initiating the archive and a year since its access to users, the Art Documentation Centre has worked hard rescuing documents, concentrating on themes like critical writing and primary sources, registering performances and ephemeral art along with video as means of art expression. This work is done with the cooperation of local artists who have donated documents and have actively participated in our oral memory archive.

Our mission is to collect, conserve and divulge documentation related to cultural production in Chile. Including its historical framework, allowing multiple cross roads and numerous accesses to readings and critical interpretation.

This is an archive compromised to Chile’s visual art production, which looks at its self and towards possible interpretations, the purpose being that investigators and creators will have the access to discover, within artistic manifestations, sources for future projects and references for the development of new disciplines.

By creating the Open Archive the Art Documentation Centre hopes to expand, through a flexible platform, it’s academic, historic, political and poetic uses allowing dialogues and contemplations of new categories in the transmission of documentation, means and projections of the archive function.

With this purpose, we have elaborated a program of meetings, conferences, conversations, video projections and document displays, creating a place were the public is an active observer. The Open Archive offers the opportunity of attracting new visitors, as well as the investigators, students, critics and artists that visit us regularly.

For the year 2007 we are preparing two documentary exhibitions, “Multinode/Metagame. Cybersyn: Cybernetic Synergy” and “Museum Man presents History of Disappearance”.
About the Exhibits

While in 1973 a strong political and social discourse was arising in the Chilean art maneuvers- within an oppressive surrounding in which the body and the video format appear as political instruments-, in the United States the art performance main critic focused on stating their dislike of their own economic and political context, dealing with subjects like free-trade, ecology, gender and racial conflicts, among others.

On the other hand, Chilean mural artists (the Ramona Parra Brigades) used public spaces to aid President Salvador Allende´s socialist project. Within the same context the government and a multidisciplinary team made up of engineers, designers and program directors, were able to formulate a humanist and utopist idea about communication.

These scenarios show historic articulations where art acts in conjuncture with sociopolitical problematics. The Art Documentation Centre questions the insertion of ephemeral art into the institution, in this particular case in the Centro Cultural Palacio La Moneda, as well as the incorporation of technology into the art archives.

“Cybersyn”, a project dedicated to the rescue of monographic documents, has made it its mission to reconstruct the essence of the original project and make known the different historic and artistic observations it has acquired through time. In this way, the reconstruction of the mythical chair functions as a communicational link between the user and the content (animation and multimedia applications) that explains the original project historically and conceptually. It also works as an interactive device within an archive that rescues, organizes, systemizes and exhibits original documents to a varied local audience unaware of this area of our history.

In the same way, a “History of Disappearance” focuses on the concerns faced by artists and the conservation and archives departments surrounding the ephemeral art production (on going since the 1960’s) and its methods of conservation. The Franklin Furnace Archive (created in 1975) gives the public graphic documents and videos about the history of performance art and its international production, making it more accessible in our local archive, creating a dialogue about its critical definitions and operations. In The Art Documentation Centre we will produce audiovisual interviews with artists, writers, poets and Chilean theorists who have worked this discipline.

The Open Archive functions as a dialoging tool, allowing the exchange of ideas within a Documentation Centre that presents itself as a place that promotes information trading for the purpose of historical construction.

For more information:
Centro de Documentación de las Artes
(56 2) 355 65 36
Plaza de la Ciudadanía Nº 26 [c.p. 834-0687]
Santiago, Chile.


3. Nicolás Dumit Estévez, FF Alumn, in lower Manhattan, Oct 26, beginning at 9 am

Be my Shepherd:
On My Way to the Lower East Side Tenement Museum

Lower Manhattan Cultural Council and Franklin Furnace host a work by Nicolás Dumit Estévez

October 26, 2007
Beginning: 125 Maiden Lane, between Pearl and Water Streets, Lower Manhattan, at 9 am

Ending: Lower East Side Tenement Museum
97 Orchard Street
New York, NY 10002
No estimated arrival time

WHO: Lower Manhattan Cultural Council (LMCC) and Franklin Furnace are proud to partner on interdisciplinary artist Nicolás Dumit Estévez’s three-year performance series For Art’s Sake. Seven arduous pilgrimages enacted by Estévez were conceived as a part of LMCC’s Workspace residency program and the Franklin Furnace Fund for Performance Art.

WHAT: Estévez stages a series of pilgrimages that reverse the relationship between art and religion, modeling his piece after the Catholic El Camino de Compostela in Spain, where devotees travel to the tomb of St James. Religion becomes a tool in the service of art as the artist endures separate journeys that begin in Lower Manhattan and conclude at seven museums. Upon completion of each penance, a passport credential is signed by the director of the institution or by an appointed official.

HOW: Estévez travels by foot from the offices of the Lower Manhattan Cultural Council, carrying a small suitcase with a change of clothes, toiletries, food and water, in the event that what would be otherwise be a short stroll to a nearby neighborhood in the City takes one or more long detours. He relies solely on verbal or written directions from passersby to help him reach his final destination: the Lower East Side Tenement Museum.

Throughout this journey Estévez refrains from attempting to self-direct the search in any way, and is guided specifically by what is told to him by those whom he encounters along the route, and who answer his question: “Do you know how I get to the Lower East Side Tenement Museum?” Meandering, re-routing or retracing his steps are all possibilities. Written directions are recorded on a New York City map that Estévez carries with him. The pilgrimage concludes with Estévez’ eventual arrival at the Lower East Side Tenement Museum, and with the President Ruth J. Abram or an appointed staff member of the institution recording his/her signature in the passport with which he travels. Departing blessing performed by Curator Juliana Driever.

Past Pilgrimages
For the first journey on March 20, 2005, Estévez was heavily laden with donated art publications strapped to his back for a trip that took him from the heart of the world’s financial capital in Lower Manhattan to East Harlem. El Museo del Barrio’s Director Julián Zugazagoitia commemorated the performance by signing Estévez’s passport.

For his second pilgrimage on June 28 and 29, 2005, Estévez forged his way walking backwards from LMCC downtown to The Bronx Museum of the Arts, spending the night on a hard bed of art catalogues provided by Longwood Arts Project, Bronx Council on the Arts. The strenuous two-day journey came to an end when the Director of The Bronx Museum of the Arts, Olivia Georgia, officially greeted him at the door and signed his passport.

During his third journey of the series on Sunday, December 4, 2005, Estévez walked from LMCC to the Studio Museum in Harlem (SMH) dressed in austere black and white raiment and wearing a heavy iron crown embellished with seven admission buttons from the Metropolitan Museum of Art. Upon his arrival at SMH, Director of Education and Public Programs, Sandra Jackson lifted the crown off his shoulders and signed the passport, thus confirming that the journey was successfully completed.

For the fourth pilgrimage on February 2, 2006, Estévez traveled by foot and ferry from the offices of LMCC in Lower Manhattan to the Jersey City Museum, stopping at educational and cultural organizations along the route: an Episcopal church, an all-boys Catholic school and a public school, to “Spread the Word” about performance art and the penances that he has been undertaking. Following Estevez’ arrival at the Jersey City Museum, Marion Grzesiak, Executive Director, recorded her signature in the passport.

As part of the fifth penance on October 28, 2006, Estévez traveled on his knees from the offices of LMCC on Maiden Lane to the Smithsonian’s National Museum of the American Indian (NMAI) at Bowling Green. In this occasion he carried in his hands a piece of casabe, a type of bread prepared from the indigenous cassava root, thus transporting a legacy of the Caribbean Taíno culture that was presented as a gift to the host institution. Peter Brill, NMAI’s Assistant Director for Exhibitions, Public Programs and Public Spaces, signed the passport.

For the sixth penance he journeyed from LMCC, to the Queens Museum of Art, stopping at several sites to give presentations entitled Seven Lives, through which he introduce his audiences to the works of seven consecrated performance artists. Tom Finkelpearl, Executive Director of the Queens Museum vouched for the completion of the pilgrimage by signing the passport.

A component of Estévez’ penances consists of a handmade devotional guide created at the Center for Book Arts in collaboration with artists Ana Cordeiro and Amber McMillan. For information about this publication visit www.centerforbookarts.org

Nicolás Dumit Estévez is an interdisciplinary artist who has exhibited and performed extensively in the US as well as internationally at venues such as Madrid Abierto/ ARCO, The IX Havana Biennial, and others. Awards include the PS1/MoMA National Studio Program, the Lambent Fellowship Program of Tides Foundation, the Michael Richards Fund of LMCC and the Franklin Furnace Fund for Performance Art. His work has been reviewed in The New York Times, NYArts Magazine, and in major publications in Mexico, Spain, Cuba and the Dominican Republic. He has been commissioned to create a public intervention for the MacDowell Colony Centennial Celebration in 2007. Born in Santiago de los Treinta Caballeros, Dominican Republic, Estévez lives and works in the South Bronx.

Lower Manhattan Cultural Council is the leading voice for arts and culture in downtown New York City, producing cultural events and supporting the arts through grants, services, and advocacy. www.lmcc.net

Franklin Furnace's mission is to present, preserve, interpret, proselytize and advocate on behalf of avant-garde art, especially forms that may be vulnerable due to institutional neglect, their ephemeral nature, or politically unpopular content. Franklin Furnace is dedicated to serving artists by providing both physical and virtual venues for the presentation of time-based visual art, including but not limited to artists' books and periodicals, installation art, performance art, "live art on the Internet"; and to undertake other activities related to these purposes. Franklin Furnace is committed to serving emerging artists and their ideas; and to assuming an aggressive pedagogical stance with regard to the value of avant-garde art to cultural life. www.franklinfurnace.org

The Lower East Side Tenement Museum's mission is to promote tolerance and historical perspective through the presentation and interpretation of the variety of immigrant and migrant experiences on Manhattan's Lower East Side, a gateway to America. www.tenement.org

The Franklin Furnace Fund for Performance Art
The Center for Book Arts
Lambent Fellowship Program of Tides Foundation
The National Association of Latino Arts and Culture
The Michael Richards Fund, a program of Lower Manhattan Cultural Council
The Urban Artist Initiative
The Queens Museum of Art

*The Franklin Furnace Fund for Performance Art is supported by the Jerome Foundation and the New York State Council on the Arts, a state agency.

Lower Manhattan Cultural Council presents THE LAST SUPPER
Presented as part of PERFORMA 07
Thursday, November 15, 2007, 5:30 pm. – 7:30 pm (Seating is limited, please come early.)
Collector’s Room, U.S Custom House, One Bowling Green
(Enter at National Museum of the American Indian)

Twelve artists/curators gather at one table with Nicolás Dumit Estévez in a reflection of the relationship of art to ritual. This is the culminating event of For Art’s Sake, a series of artistic urban pilgrimages conceived of, and undertaken by Estévez over the past three years. The guests at the table bring their own audio-visual and performative double-take on these journeys. Participants include Rocio Aranda-Alvarado, Nao Bustamante, Alexander Campos, Deborah Cullen, Juliana Driever, Tom Finkelpearl, Olivia Georgia, Alanna Lockward, Yasmin Ramirez, Sara Reisman, Claire Tancons, Olivia Aldin standing in for Linda Montano, and others.


4. Penny Arcade, Susana Cook, John Fleck, Peter Grzybowski, Jed Miner, Rev. Billy, Jack Waters, Martha Wilson, FF Alumns, in Globesity Festival, at the Theater for the New City, thru October 28

Please visit
for a complete schedule. Thank you.


5. Diane Torr, FF Alumn, at University of London, UK, Oct 26

Diane Torr, FF Alumn, will talk on a panel on a one-day critical exploration and performance-presentation on Feminist Neo-Burlesque Friday 26th October 2007, 4pm – 10:30pm at the Central School of Speech and Drama, University of London

Presented by The Centre for Excellence in Training for Theatre and The International Workshop Festival

£30 full price / £15 concessions
Please contact cett@cssd.ac.uk to book your place.

Speakers: Angela McRobbie, Goldsmiths … Lara Clifton, Artistic Producer of The Whoopee Club … Sheryl Dodds, University of Surrey … Darlinda Just Darlinda, New York … Liselle Terret, Central School of Speech and Drama … Diane Torr, Glasgow School of Art …

Performers: Empress Stah … Ryan Styles … Russella … Pia Arber … Red Sarah … Miss Fancy Chance … Doris La Trine … and more …

The event will begin with a roundtable discussion from 4pm A buffet supper and drinks will be served from 6:30pm Performances will begin at 7:30pm

The event will bring together theatre makers, theatre thinkers and theatre students to ask:

Is the resurgence of burlesque a continuation of the exploitation of women's bodies or is it potentially part of a new feminism?
Is this performance genre, originally used as a performative platform for women to comment on social and political issues, being reclaimed in the contemporary moment?
Can neo-burlesque be mobilised as a critical space of queer performativity, exploring male and trans burlesque?

This event is part of …
Theatre Materials / Material Theatres: CETT 2007/08 The Centre for Excellence in Training for Theatre (CETT) is based at the Central School of Speech and Drama, University of London. It works to provide a national resource for vocational performing arts training and learning, a focus for theatre research and scholarship, and a site for collaboration, nationally and internationally, between industry, Higher Education, and specialist training providers.


6. Helene Aylon, FF Alumn, at The Jewish Museum, NY, opening Oct 30, and more

Helene Aylon
When: October 30 (opening) November 4 (opening to the public) to March 16, 2008
What: Repairing the world, Contemporary Ritual Art (Group Show)
Where: NY Jewish Museum 92nd Street/ 5th Avenue
Admission: Free with museum admission
Hours: Daily 11- 5:45PM except Friday: Thursday 11- 8PM: Saturday free admission.

Object: Apple Plate (for Eve) For centuries, artists have created beautiful and functional works of ceremonial art designed for use on specific holidays or rituals. Contemporary artists have used these traditional forms as starting points, while creating fresh and innovative designs that reflect the world in which they are working. Some of the most exciting and inventive of these artworks not only use new materials and creative design, but also serve as a canvas for exploring contemporary social and political issues.

The thirteen artists showcased in this exhibition have created ceremonial pieces that investigate a wide range of issues and challenges facing modern Jewish life as well as broader society. Many of the artists have explored feminist themes, creating objects that celebrate women's oft-neglected roles in Jewish history and in general society. Other artists explore issues of violence and political conflict. By exploring these issues through the vessel of traditional forms, these artists bring fresh relevance to the themes of the stories and holidays that inspire these objects. The wide variety of issues explored in these works speaks to the breadth of connections these artists have been able to find between Jewish ritual and contemporary challenges. By putting modern issues and ancient traditions in dialogue with each other, each takes on deeper meaning and universal resonance.

Helène Aylon
Harriette Estel Berman
Zoya Cherkassky
Janet Dash
Lillian Elliott
Neil Goldberg
Phyllis Handler
Cary Leibowitz
Richard Meier
Gilda Pervin
Lucy Puls
Laurel J. Robinson
Melissa Shiff


Helene Aylon
What: Solo show of 3 Installations in Philadelphia
Where: The Gershman Y Galleries 401 South Broad Street Philadelphia, PA.
Date: November 4 is the last day.
Hours: Sunday - Friday 9am-5pm, Closed Saturday.
Description: My Body, My Self: Under the canopy; On top of the land; Out of the texts.
My Marriage Contract - Under the canopy
Wrestlers (Homage to Ana Mendieta) - On top of the land
Self Portraits - Out of the texts

Self Portraits are currently in the Jewish Museum of Vienna, travelling to the Jewish Museum of Frankfurt.

Wrestlers was in the U of SF and Celji, Slovenia, and at the Brooklyn War Memorial.

My Marriage Contract was last seen in the Bronfman Gallery, Washington DC.


7. Nina Kuo, FF Alumn, at Hatch-Billops Collection, NY, Oct 28, 2 pm, and more

Nina Kuo, FF Alumn, presents an artist talk moderated by Janet Henry, FF Alumn, at Hatch-Billops Collection, 491 Broadway at Spring Street, NY, 212-348-6589


A review of her show at Cheryl McGinnis in New York appears in the October 2007 Art in America.


8. Judith Sloan, FF Alumn, at Lower East Side Tenement Museum, Oct 29, 7 pm

Date: Monday, October 29, 7 PM

Event: Judith Sloan in Crossing the BLVD: strangers, neighbors, aliens in a new America. Performance of monologues, images, and sounds portraying the struggles, humor, and pathos of new immigrants and refugees in Queens, NY, the most polyglot place on the planet based on Warren Lehrer and Judith Sloan’s critically acclaimed book, Crossing the BLVD (W.W. Norton)

Guest actors: Chuy Sanchez and Maryam Mehrjui reading in Spanish and Farsi
Discussion on Cross-Cultural Dialogues and Immigration to follow performance.

LOCATION: Lower East Side Tenement Museum Visitors Center and Museum Shop, 108 Orchard Street (below Delancey)

FEE: $10 donation requested

Please RSVP to: bookclub@tenement.org
Links: http://www.crossingtheblvd.org

About the Performance: As immigration policy is being hotly debated around the country in terms of national and cultural security, Crossing the BLVD presents the very human stories of why new immigrants and refugees have migrated to the United States and what their experiences have been since they came here pre- and post-9/11. The narration in the performance includes Lehrer’s experience of growing up in queens, and commentary and perspective as Sloan “channels” many of the people that the couple interviewed on their three-year journey around the world through the borough of Queens. Sloan is a mesmerizing performer, whose vocalization work and movement bring these characters to life. The performance is illuminated by projections of Lehrer’s stunning photographs of the subjects, objects they have carried with them from home to home, and landscapes and maps, along with Sloan’s soundtrack of original music, sounds, and voices.

"Crossing the BLVD boldly carries the tradition of oral history into the 21st Century..." Eve Ensler, Author the Vagina Monologue
"Immigrant life as told in the intimate, rich, comic, ironic and sad stories so often seen but not heard in America's big cities..." The Washington Post
"An offbeat ethnic tour of one of the country’s most ethnically diverse counties... Riveting stories about a new wave of immigrants to America..." The New York Times
“Oral history with a twist." The World, BBC / PRI, Public Radio International
Winner Brendan Gill Prize, Municipal Art Society of New York 2004


9. Erika Yeomans, FF Alumn, now streaming video on New York Magazine’s website

Hey All
For those that haven't seen it - Filmmaker/Critic Bilge Ebiri curates for New York Magazine's VULTURE PICTURE PALACE and they are streaming my short Chubby Buddy!


Happy halloween!


10. Sal Romano, FF Member, at Wooster Arts Space, NY, thru Oct 27

Sal Romano, FF Member, presents sculpture and drawings at Wooster Arts Space, 1476 Wooster St., NY, www.salromanoartist.com


11. Wooloo Productions, FF Alumn, at White Box, NY, Nov 6, 7 pm

AsylumNYC Screening
Documentary of the Controversial AsylumNYC Project to be Screened in White Box
November 6th, 2007 at 7 PM

Wooloo Productions, a Berlin-based art collective working from the outset in the online artist community www.wooloo.org, presents the world premier of “A Documentation of AsylumNYC”. The video documentary is based on footage from the groups 2006 project AsylumNYC - in which Wooloo Productions detained 10 non-U.S. artists in the art institution White Box and had them compete for a 3-year visa.

After five days detention, artist Dusanka Komnenic from Serbia and Montenegro was awarded the free legal services to obtain a 3-year 0-1 artists visa for the U.S. One year later - in August 2007 - Dusanka Komnenic was accepted for the visa.

At 7 PM on November 6th, 2007, A Documentation of AsylumNYC will be screened at the very place the project took place: White Box in Chelsea - 525 West 26th Street, New York, NY 10001. The screening is free and will be followed by a talk with Wooloo Productions and other of the participating artists.

AsylumNYC was as site-specific investigation into regimes of exclusion. The project performed the notion of acceptance needed by both the traditional refugee and the creative worker to be a successful immigrant. Similar in kind to the proof needed by an asylum seeker to be accepted as a “real” refugee by the nation state, the creative worker has to prove her/his worth to the creative community before gaining status as a “real” artist. And just as any other immigrant, the asylum artist will ultimately be dependent on the goodwill of strangers to thrive in their new environment.

To qualify for a U.S. visa, an artist or any other creative professional have to demonstrate extraordinary ability in the arts as evidenced by awards, critical reviews, or professional affiliations. They must also be able to afford the legal expenses associated with this extensive procedure.

Functioning within these processes, AsylumNYC confronted its otherwise privileged participants with their own precarious freedom of movement.

Wooloo Productions is a nomadic production company working from the outset in the online artist community www.wooloo.org. Currently based in Berlin, Wooloo Productions creates collaborative projects and situations in which the wooloo.org community participates. Every Wooloo production begins by researching a selected power structure. The project then attempt to replicate the mechanisms of the given structure, insert itself into its matrix, and ultimately offer the possibility for an alternative mode of existence. Wooloo Productions have applied their participatory projects and performances in such places as: Artists Space, New York City; 25th VIBER Festival for Film, Video and New Media, Basel Kunsthalle; and Nikolaj Contemporary Art Center, Copenhagen. Wooloo Productions received a Franklin Furnace Future of the Present award in 2005-06. For more information, see www.wooloo.org.

Contact: Dan Schwartz, Susan Grant Lewin Associates, T: 212.947.4557, E: dan@susangrantlewin.com


12. Laura Parnes, FF Alumn, at Kunsthalle Winterthur, Switzerland, thru Dec 2

Kunsthalle Winterthur

Marc Bijl, Stefan Burger, The Centre of Attention, Brice Dellsperger, Tom Ellis, Joep van Liefland, Alex McQuilkin, Laura Parnes, SIS.TM, Sndikat, Alejandro Vidal
Co-curator Dimitrina Sevova

Thru Dec 2 2007

Marcuse sees an incessant aggressive surrounding of contemporary opulent society in which there is a yawning gap between established models of existence and the real possibilities of human freedom. The society’s repressive tolerance leads to stress, tension and inequality and finds its expression in local conflicts. Via the pressure to conform and be normal, a historically entirely new and institutionalized access to their subconscious, people are drilled to become functioning consumers: normal body, normal family, normal profession, normal love. If then the history of humanity may be seen as an accumulation of downright destructive power, cruelty and aggression, the question arises as to what opportunities are available to the contemporary social subject or to society as a whole to deal with this aggression, to tame this phenomenon that people are faced with in the hostile environment of a globalized, highly technologized world in which we are suffering day by day the shock treatment of daily news, in which the fears of the end, of catastrophes and the forces of nature are ubiquitous.

Parallel to the exhibition a series of talks, lectures and screenings will be held, starting each Saturday at 4 pm. Before each event a separate email will provide you with detailed information.

At the end of the exhibition a catalogue is published together with edition fink, Zurich.

The exhibition is supported by Stadt Winterthur, Friends of the Kunsthalle Winterthur, Kulturstiftung Winterthur, Mondriaan Stichting, British Council, Bundesamt fr Kultur, Migros-Kulturprozent, Spanish Embassy Bern and Fondation Nestle pour lart

The film and panel discussion programme is supported by Ernst Gr__ Stiftung, Zug, and Ernst und Olga Gubler-Habltzel Stiftung, Zurich

Kunsthalle Winterthur, Marktgasse 25, CH 8400 Winterthur
Wed Fri 12 am 6 pm, Sat / Sun 12 am 4 pm
+41 (0)52 267 51 32, info@kunsthallewinterthur, www.kunsthallewinterthur.ch


13. Christa Maiwald at Sara Nightingale Gallery, Water Mill, NY, thru Nov 19

Christa Maiwald,
Chick Flicks
A group show at
Sara Nightingale Gallery

Thru November 19
688 Montauk Highway
Water Mill, NY 11976


14. Marcus Young, FF Alumn, at Minneapolis College of Art & Design, thru Nov 25

Marcus Young is in the Jerome/MCAD show at Minneapolis College of Art & Design, 2501 Stevens Ave., Minneapolis, from now thru Nov. 25. "From Here to There and Beyond" is a conceptual work that is installed in the gallery and in the public realm. The work is best viewed during the day.

Panel discussion with five exhibition artists takes place Wednesday, Oct. 24, at 6 p.m.
This project is created in collaboration with Aki Shibata and Travis Spangler. For more information, please visit: http://www.mcad.edu/showPage.php?status=1&pageID=1665.


15. Tim Miller, FF Alumn, at Wake Forest University, NC, Oct 23-Nov 4, and more


Hi All,

Barely a moment to do some laundry after my fantastic residency at University of NEbraska and I am now off to North Carolina to do two residencies back to back in Winston-Salem at Wake Forest University Oct 23-28 and then at Davidson College Oct 29-Nov 4. I always like telling people most years North Carolina is the state I perform in most! I will be making a piece with students at both Wake Forest and Davidson and will be performing my show US Nov 2 at Davidson College. Here's a big piece that ran in the NC Gay newspaper Q-Notes.

cheers, Tim


16. Tom Trusky, FF Alumn, announces Idaho iPods project online

For information regarding invention and construction of this pre-book structure, please visit http://english.boisestate.edu/ttrusky/studwork.html


17. Joshua Fried, FF Alumn, at Lemurplex, Brooklyn, Oct 26

RADIO WONDERLAND -- that's me, digitally reassembling live radio as patterns within patterns that groove -- will appear live at that monthly music-for-people-who-like-robots series, TRANZDUCER.

(TRANZDUCER is LEMURplex's music, art and performance series hosted by Eric Singer and Jamie Allen.)

(LEMURplex is the home of LEMUR.)

(And LEMUR = the League of Electronic Musical Urban Robots.)

I played the very first Tranzducer back in January.
It's up on YouTube, here:



This coming Friday I'm playing last so that puts my set time around 10pm. Tranzducer's blurb makes me feel like a star....thanks Jamie!

Friday 26 October 2007
8PM - 11 PM (RADIO WONDERLAND around 10)
$5 at the door
LEMURplex, 461 3rd Avenue, Brooklyn NY 11215


LEMURplex is located at 461 3rd Avenue, Brooklyn, between 9th and 10th streets near the vibrant neighborhoods of Park Slope, Carroll Gardens, Gowanus and Red Hook.

By subway:
Take the F/M/R to 4th Ave and walk one block down either 9th or 10th St. to 3rd Ave. Or, take the F/G to Smith & 9th St and walk two blocks up 9th. Cross and then turn right onto 3rd Ave.

By car via Google Maps:


18. Lawrence Weiner, FF Alumn, in The New York Times, Oct 21

October 21, 2007
The New York Times
Language as Sculpture, Words as Clay

THE artist Lawrence Weiner had an apocalyptic dream not long ago. Lava surged up from a hole in the earth and coursed over Chelsea, swallowing art galleries as dealers ran from the devastation. “It was like Pompeii,” Mr. Weiner recalled recently, shaking his heavily bearded head. “Very strange dream.”

Given his highly unconventional lifelong relationship with the art world — or at least the artist-as-rock-star version of the art world that has prevailed in much of high-riding Chelsea — the dream could easily be interpreted as a kind of wish fulfillment, a biblical erasure from which a better, purer version of art and commerce may someday rise.

But the dream probably had a lot more to do with the deafening construction project under way across the street from a Chelsea brownstone where Mr. Weiner and his wife, Alice, have been camping out for several months while their West Village house and studio are being renovated. The construction employs a deafening rock drill that was boring down into the Manhattan schist one recent morning when Mr. Weiner answered the door and motioned to a visitor to come inside because words were of little use against the noise.

It’s an unusual way to meet him, given that almost 40 years ago Mr. Weiner decided that words would serve almost exclusively as raw material for his art: words spoken, sung, painted on walls, printed in books and on matchbooks, stamped on coins or manhole covers or elsewhere. In 1968, in a declaration of principles that has become a founding document of Conceptual art (a category that Mr. Weiner, as you might expect, views with great suspicion), he wrote:

“1. The artist may construct the piece.
“2. The piece may be fabricated.
“3. The piece need not be built.
“Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.”

In other words, when Mr. Weiner made early artworks that consisted of short descriptive phrases like “Two Minutes of Spray Paint Directly Upon the Floor From a Standard Aerosol Spray Can” or “A 36” x 36” Removal to the Lathing or Support Wall of Plaster or Wallboard From a Wall,” the work could remain solely as words written on walls or pieces of paper; or Mr. Weiner could create the situations the words described; or someone who bought the pieces, or a museum featuring them in a show, could enact the words with a spray can or a jigsaw and some elbow grease. Or not.

Though Mr. Weiner considers himself a sculptor, he says that imposing his specific personal vision for a work upon a viewer is akin to “aesthetic fascism.” Art, in his view, almost a century after Duchamp began trying to deny the possibility of defining it, is not only possible to define but is so important to human life that it shouldn’t be boiled down simply to the shifting tastes of one man; it should exist in an almost Platonic state, helping people to understand their relationship to the objects in their world.

This leaves the viewer with a lot of responsibility. And beginning on Nov. 15, at the Whitney Museum of American Art, where Mr. Weiner will be given his first major American museum retrospective, he will be asking viewers to take on that responsibility, even at the risk of finding themselves, as good artists do, “perplexed in public,” as he described it to Donna De Salvo, the Whitney’s chief curator. (She organized the show with Ann Goldstein, senior curator of the Museum of Contemporary Art, Los Angeles, where the retrospective will travel next.)

Mr. Weiner, 65, is arguably one of the most influential American artists never to have been given a full-dress career survey in his own country, though he has had retrospectives in Europe. He is considered one of the fathers of Conceptual art, a term he has made fun of, describing himself instead as a realist artist because his work deals with real materials and real relationships of people to those materials.

Younger generations of artists have admired him not only because of his radical break with most art traditions but also because of the principled way he has gone about it, spending many years of his life with little money. (In Amsterdam, where he and his wife have lived off and on and raised a daughter, they had no electricity for 18 years on their modest houseboat. “That was not easy and not fun,” he said.)

He grew up in the Bronx, the son of a candy-store owner, and though he was working on the docks by the age of 12, he managed to graduate from Stuyvesant High School at 16 and began to study philosophy. He came of age in the city during the ascendancies of the Abstract Expressionist and Beat movements and lived both, making expressionist paintings (which were destroyed, thankfully, he says) and hitchhiking across the country.

In 1960, on a trip to California, he made his first big stride away from painting, gathering a few friends, buying some dynamite and blasting a number of craters in a state park just north of San Francisco. He thought of the craters, at the time, as anti-statues of a sort, voids in the earth instead of additions to it. (He did not make many such voids before the authorities arrived and threatened to arrest him if he kept it up.)

But the seminal moment for Mr. Weiner, who had already started thinking of words as sculptural material, was a 1968 exhibition at Windham College in Putney, Vt., with his fellow emerging artists Carl Andre and Robert Barry. Mr. Weiner made a simple work in which he formed a grid with 34 wooden stakes on a grassy field and then connected the stakes with twine. It turned out, though, that the field was used for touch-football games, and the players had no patience for minimalism they could trip over; they soon cut the twine. When Mr. Weiner saw it, as he later said, “it didn’t seem as if the philistines had done the work any particular harm.” In his mind the description of the work suddenly became sufficient.

“And that was it,” he said. “It certainly didn’t constitute a reason to go out and beat somebody up.”
The Whitney and Los Angeles shows will include some of Mr. Weiner’s earlier, more traditional work, like a series of paintings he made in the early 1960s usually called the propeller paintings, based on the form of a test pattern on late-night television. He also made monochromatic rectangular paintings in which, foreshadowing his later work, he asked the recipient of the painting to tell him what color the canvas should be and then which corner of the rectangle should be removed.

But the heart of the two shows will be Mr. Weiner’s profusion of words, most of which will remain either as descriptions of work not made (though spray paint will be sprayed, and a three-foot square will be sawed from a wall at the Whitney) or as more abstract and epigrammatic thoughts. The words “As Far as the Eye Can See” — a phrase that could be taken to describe hopeful vistas or the limits of human vision, among many other meanings — will be attached in huge letters to the exterior of the Whitney’s Marcel Breuer building on Madison Avenue.

The museum will also reprise a public work of Mr. Weiner’s in which he created 19 manhole covers with the help of the Public Art Fund in 2000. The covers, each emblazoned with the words “In Direct Line With Another & the Next,” replaced regular manhole covers at 19 locations below Union Square for several months. The Whitney will swap a manhole cover in front of the museum with one of the wordier Weiner versions.

In a recent interview at his temporary studio, as the construction drill droned on outside, Mr. Weiner, a tall, thin man with a trademark flowing Moses beard, seemed not to notice the noise anymore, speaking in a quiet, smoke-deepened basso-profundo. He said that while people had gradually accepted a wide range of nontraditional materials as being within the realm of sculpture — Mr. Andre’s plain, stacked fire bricks or metal tiles; Dan Flavin’s fluorescent tubes; Bruce Nauman’s painted body — using only language as a material seemed to be going way too far. (Mr. Weiner’s actual way of describing this, evoking his years on the docks, can’t be printed in this newspaper.)

But his use of language was not intended to be confrontational, he said. It was democratic, to make art that was open-ended and able to adapt easily to different contexts and even different cultures. He has made work in dozens of countries, translated into dozens of languages.

“If it’s successful, the work really becomes part of people’s lives,” Mr. Weiner said, relating, as he rolled a cigarette from pouch of tobacco, a story of a late-night cab ride in Vienna. The cabdriver talked proudly about one of Mr. Weiner’s pieces in that city — the words “Smashed to Pieces (in the Still of the Night)” painted in huge letters atop a Nazi-era military tower in 1991 — not knowing or caring, really, who made the work and certainly not realizing that the creator was in the back seat of his cab.
Ms. De Salvo of the Whitney said she believes the retrospective will introduce Mr. Weiner’s art to a large museum-going population that knows him only indirectly, through his influence on other artists. But the exhibition may be disorienting to those who are used to shows in which objects, of whatever kind, predominate and in which the texts on the wall are there to describe what you are seeing in the galleries, not what you are not seeing — or must see with your mind.

“All art requires something of you, but I think Lawrence makes that requirement a huge part of his art,” she said. “You really have to look and think in a way that demands more of you as a person and as a viewer. It doesn’t coerce you. You have to engage it.”
“He’s playing on things that get to the heart of all kinds of cultural systems and values,” she added. “The hard part for us as curators and writers in talking about his work is that there’s some exchange there that we’ll never completely know about, between the work and the viewer.”

In much that has been written about Mr. Weiner it is this relationship between the work and the viewer that is central, with the artist left all but invisible. And that is just how Mr. Weiner likes it. “Your personal enlightenment of your personal angst is not a fit subject for art,” he once said. “It might be a fit subject for literature, or poetry perhaps, but art is about material objects.”
So when he was asked to participate in the retrospective, as when he has been asked to do previous ones, he went through what he described as a crisis about whether to agree to the kind of museum show that shines a heroic spotlight on the artist as sage and creator.

In the end, though, it didn’t take him long to say yes. “It really is almost a rhetorical question,” he said. “Of course you’re going to do it. But you want to question yourself beforehand to make sure you know exactly why.”

And what was the answer?
He smiled. “Social pressure.”


19. Halona Hilbertz, FF Alumn, at Joey, Manhattan, Oct 25, 10 pm

Full Tank is playing this Thursday, October 25, at 10 pm, at Kenny's Castaways, where Deedee met Joey. 157 Bleecker Street, Manahatta. We are sandwiched smack in the middle of a bunch of bands. Come over!


20. Shirin Neshat, FF Alumn, in The New Yorker, Oct 22, and online

Shirin Neshat, FF Alumn, is profiled the October 22nd issue of The New Yorker magazine, with an online component available at www.newyorker.com

Congratulations to Shirin, who had a solo exhibition at Franklin Furnace in 1993.


Goings On is compiled weekly by Harley Spiller


click http://www.franklinfurnace.org/goings_on.html
to visit 'This Month's World Wide Events'.
To subscribe, unsubscribe, or for information
send an email to info@franklinfurnace.org
Franklin Furnace Archive, Inc.
80 Arts - The James E. Davis Arts Building
80 Hanson Place #301
Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
Fax: 718-398-7256

Martha Wilson, Founding Director
Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Dolores Zorreguieta, Program Coordinator