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Contents for October 20, 2009
1. Nancy Spero, FF Alumn, In Memoriam

2. Stuart Sherman, FF Alumn, at New York University, Manhattan, opening Oct. 27, and more
3. Stefanie Trojan, FF Alumn, at Stadtische Museen Heilbronn, Germany, Oct. 23
4. Jenny Polak, FF Alumn, at Griffiss International Sculpture Park, Rome, NY, and more
5. Nicolas Dumit Estevez, FF Alumn, at El Museo del Barrio, Manhattan, thru Feb. 20, 2010
6. Lawrence Weiner, FF Alumn, at Espai d'art contemporani de Castello, Spain, opening Oct. 23
7. Theodora Skipitares, FF Alumn, at La Mama, E.T.C., Manhattan, thru Oct. 25
8. Chris Sullivan, FF Alumn, now online at http://tcdailyplanet.net/node/27112
9. Laurie Anderson, Louise Lawler, Lawrence Weiner, FF Alumns at Swiss Institute, Manhattan, Oct. 30
10. Carolee Schneemann, FF Alumn, at KGB Bar, Manhattan, Oct. 29
11. Kate Gilmore, FF Alumn, in The New York Times, Oct. 16
12. Maciej Toporowicz, FF Alumn, at Fundacja Wyspa Progress, Gdansk, Poland, opening Oct. 24
13. Brody Condon, FF Alumn, at MoMA, Manhattan, Nov. 2, and more
14. Vitaly Komar, FF Alumn, at Feldman Gallery, Manhattan, opening Nov. 7
15. Diane Torr, Felix Gonzalex Torres, Robert Mapplethorpe, FF Alumns, at Gallery of Modern Art, Glasgow, Scotland, October 22
16. Marlena Kudlicka, FF Alumn, at Stary Browar, Slodownia, Poland, opening Nov. 2
17. Slaven Tolj, FF Alumn, in Banja Luka, Bosnia-Hergegovina, thru Nov. 15
18. Frank Moore, FF Alumn, at Temescal Arts Center, Oakland, CA, Oct. 24
19. Clemente Padin, FF Alumn, atr Alfredo Ramos Gallery, Mexico City, Mexico, October 29
20. Mark Tribe, FF Alumn, at LACE, Los Angeles, CA, thru Jan. 24, 2010, and more
21. Reverend Billy, FF Alumn, at Highline Ballroom, Manhattan, November 1
22. Joseph Kosuth, FF Alumn, at Musee du Louvre, Paris, France, opens Oct. 22
23. Gabriel Martinez, FF Alumn, at Univ. of North Carolina, Chapel Hill, thru Oct. 28
24. Naeem Mohaiemen, FF Alumn, at LABoral Centro, Gijon, Spain, opening Oct. 22
25. Jibz Cameron, FF Alumn, at NYU, Manhattan, Oct. 26

1. Nancy Spero, FF Alumn, In Memoriam

Nancy Spero, Artist of Feminism, Is Dead at 83
The New York Times
by Holland Cotter
Published: October 19, 2009

Nancy Spero, an American artist and feminist whose tough, exquisite figurative art addressed the realities of political violence, died on Sunday in Manhattan. She was 83 and lived in Manhattan.

The cause was infection leading to respiratory problems that in turn caused heart failure, said her son Philip.

Born in Cleveland in 1926, Ms. Spero studied at the School of the Art Institute of Chicago and there met her husband, the painter Leon Golub, to whom she was married for 53 years until his death, in 2004.

The couple moved to Paris in 1959, where Ms. Spero steeped herself in European existentialism and produced a series of oil paintings she had begun in Chicago on the themes of night, motherhood and eroticism. When they settled in New York City, which became their permanent home, in 1964, the Vietnam War and the social changes it was creating in the United States affected Ms. Spero profoundly.

To come to grips with these realities, Ms. Spero, who always viewed art as inseparable from life, developed a distinctive kind of political work. Polemical but symbolic, it combined drawing and painting as well as craft-based techniques like collage and printmaking seldom associated with traditional Western notions of high art and mastery.

One result was a group of pictures in gouache, ink and collage on paper titled "The War Series" (1966-70). With its depictions of fighter planes and helicopters as giant, phallic insects, the series linked military power and sexual predatoriness, but also included women among the attackers. Ms. Spero later described the work as "a personal attempt at exorcism"; it remains one of the great, sustained protest art statements of its era, all the more forceful for its unmonumental scale. Exhibited in 2006 at LeLong Gallery in Manhattan, its pertinence to contemporary politics was unmistakable.

In 1971, Ms. Spero also returned to the interests of her Paris years in the introspective and tormented "Codex Artaud," a series that interspersed images of broken bodies and hieroglyphic monsters with the transcribed writings of Antonin Artaud (1896-1948), the mentally ill French poet who viewed himself as an outcast from society and who spoke of human folly with a mocking rage. To some degree, the work reflected Ms. Spero’s own sense of exclusion from an art world that had the character of a men’s club.

By the time of the "Codex Artaud" her long involvement with the women’s movement had begun. Ms. Spero was active in the Art Workers Coalition, and in 1969 she joined the splinter group Women Artists in Revolution (WAR), which organized protests against sexist and racist policies in New York City museums. In 1972, she was a founding member of A.I.R. Gallery, the all-women cooperative, originally in SoHo, now in the Dumbo section of Brooklyn. And in the mid-1970s she resolved to focus her art exclusively on images of women, as participants in history and as symbols in art, literature and myth.

On horizontal scrolls made from glued sheets of paper, she assembled a multicultural lexicon of figures from ancient Egypt, Greece and India to pre-Christian Ireland to the contemporary world and set them out in non-linear narratives. Her 14-panel, 133-foot-long "Torture of Women" (1974-1976) joins figures from ancient art and words from Amnesty International reports on torture to illustrate institutional violence against women as a universal condition.

Ms. Spero considered this her first explicitly feminist work. Many others followed, though over time she came to depict women less as victims and more often as heroic free agents dancing sensuously.

Although Ms. Spero received relatively little art world attention during the early part of her career, she gained visibility in the 1980s and ’90s as socially concerned art came into favor. By this time her work had gained in formal complexity and variety, with its weavings of image and text, its time-consuming techniques of painting, cutting and stamping, and its adaptation of aspects of Pop, Minimalism and Color Field painting, styles she had previously distanced herself from.

Beginning in the late 1980s, she transformed the scroll format into site-specific wall murals. In 2001, she completed a mosaic installation for the 66th Street subway station at Lincoln Center in Manhattan. In 2006, despite painful degenerative arthritis that had crippled her for years, she executed wall paintings for "Persistent Vestiges: Drawing From the American-Vietnam War," an exhibition at the Drawing Center in SoHo. For a concurrent solo show at the LeLong Gallery, she made a single printed-paper frieze that wrapped around the base of the gallery’s walls.

Titled "Cri du Coeur," (2005) and adapted from an Egyptian tomb painting, the mural depicted a procession of mourning women. Some viewers saw in it a reference to the war in Iraq or to Hurricane Katrina; others understood it as Ms. Spero’s response to the death of her husband the previous year. Like her, he had created an art that insisted on balancing ethics with aesthetics.

Ms. Spero had solo exhibitions at the Museum of Modern Art in New York in 1992 and the Museum of Contemporary Art in Los Angeles in 1988. A traveling career retrospective was organized by the Everson Museum of Art in Syracuse in 1987. In 1997, she was included in Documenta X in Kassel, Germany. She often exhibited in two-person shows with Mr. Golub. A Spero retrospective is planned for the Pompidou Center in Paris next year.

In addition to her son Philip, who lives in Paris, her survivors include her sons Paul, also of Paris, and Stephen, of Swarthmore, Pa.; six grandchildren; and a sister, Carol Neuman, of Portland, Ore.

Kiki Smith, one of the many younger artists influenced by Ms. Spero, once said in an interview: "When I first saw Nancy Spero’s work, I thought, ‘You are going to get killed making things like that; it’s too vulnerable. You’ll just be dismissed immediately.’ "

Ms. Spero herself, who experienced both being dismissed and celebrated, said simply of her work, "I am speaking of equality, and about a certain kind of power of movement in the world, and yet I am not offering any systematic solutions."



2. Stuart Sherman, FF Alumn, at New York University, Manhattan, opening Oct. 27, and more

Beginningless Thought/Endless Seeing: The Works of Stuart Sherman

New York University’s 80WSE Gallery is pleased to present
Beginningless Thought/Endless Seeing, an exhibition of the works of
Stuart Sherman (1945-2001), curated by John Hagan, Yolanda Hawkins,
and John Matturri.

Preview Reception, October 20, 2009, 5-8pm
Opening Reception, October 27, 2009, 5-8pm
Work on view through December 19, 2009.

80 Washington Square East, Between West 4th Street and Washington Place
Gallery Hours: Monday-Saturday, 10am-6pm
Contact: Michael Cohen, 212.998.5747 / 80wse at nyu.edu

Stuart Sherman, a member of the important generation of American avant-garde performance artists who rose to prominence in the late 1960s and early 1970s, developed his own unique style across various media, the impact of which continues to resonate with the avant-garde eight years after his death. He devoted a large amount of his time to the creation of performances he called "spectacles", which often took the form of small tabletop performances. These performances involved the manipulation of both familiar and unfamiliar everyday objects atop one or more folding TV dinner tables. Performed by a poker-faced Sherman, the spectacle performances sit in a unique hybrid space that moves between references to various genres including comedy, magic, musicals, minimalism, surrealism, opera, three card monte games, fluxus, and vaudeville. Through these performances, which consisted of series of intricately structured object manipulations, he crafted a unique identity both as creator and performer. While the spectacle performances were generally miniature in scale, they were certainly not miniature in ambition, exploring with great wit topics such as time, language, mortality, eroticism, and personal identity.

Although Stuart Sherman is, perhaps, best known for his object spectacles, as well as for his films (that are currently been restored by the Museum of Modern Art) and videos (available through Electronic Arts Intermix), this exhibit aims to present a broad view of the range of his artistic achievements, firmly establishing his place as a highly influential figure of the 1970s downtown art world. The show explores the extraordinary career of this artist through documentation of his larger scale theatrical productions, sculptural proposals, daily collages from the 1990s, and poetry. Exhibited for the first time is an extraordinary series of ideographic and language-based drawings executed in the 1970s, which provide the immediate context for spectacle performances.

The title of the exhibit—Beginningless Thought/Endless Seeing—taken from a syllabus for a class Sherman taught, defines his work and the nature of his process. In combining these disparate and widely unknown materials for the first time, this exhibition highlights the various manifestations of his endless thinking, the richness and depth of his artistry across genre boundaries, and the philosophical themes that informed the central core of his artistic identity.

A fully illustrated color catalogue will accompany the exhibition.

A screening of Stuart Sherman’s film and video works, curated and hosted by Bérénice Reynaud, will take place November 11, 2009, at 7 P.M.

Performances of several plays by Sherman will be presented on December 4 - 7 at the Emily Harvey Foundation Gallery, 537 Broadway, 2nd Floor. (http://www.emilyharveyfoundation.org/)

Beginningless Thought/Endless Seeing will be on view from October 21, 2009 to December 19, 2009.

In conjunction with, Beginningless Thought/Endless Seeing, PARTICIPANT Inc. Gallery will present Stuart Sherman: Nothing Up My Sleeve, an exhibition inspired by the work of Stuart Sherman, curated by Jonathan Berger. Artists in the exhibition include: Nancy Barton and Michael Glass with Allison Somers and Eric Van Speights; James Lee Byars; Carol Bove; Matthew Brannon; Katarina Burin with Eileen Gray; Tony Clifton; Vaginal Davis; Harry Houdini; Andy Kaufman; KIOSK / Alisa Grifo and Marco Romeny; Little Switzerland; Babette Mangolte; Pedro, Murial, and Esther; SITE Projects; SUPERSTUDIO; Stefanie Victor; and Jeff Weiss and Richard C Martinez / HOT KEYS



3. Stefanie Trojan, FF Alumn, at Stadtische Museen Heilbronn, Germany, Oct. 23

Das Fundament der Kunst - Die Skulptur und ihr Sockel seit Alberto Giacometti (the base of art - sculpture and the socle since Alberto Giacometti) // 24th october 2009 - 31st january 2010

friday // 23rd octobre // 7.30 pm
opening with a Performance of Stefanie Trojan 7.30-9.30 p.m.

exhibition with works of:
Franz von Stuck, Auguste Rodin, Jean Arp, Alberto Giacometti, Joan Miro, Heinz Mack, Jean Tinguely, Stefanie Trojan, Daniel Spoerri, A.R. Penck, Markus Lüpertz, Wim Delvoye, Stephan Balkenhol, Silvie Fleury, Mark Dion, Erwin Wurm, Jonathan Meese, Timm Ulrichs etc.

Städtische Museen Heilbronn
74072 Heilbronn

Telefon (07131) 56 2295 + 56 3144
Telefax (07131) 56 3194




4. Jenny Polak, FF Alumn, at Griffiss International Sculpture Park, Rome, NY, and more

Hi all

I have a new permanent installation at the Griffiss International Sculpture Park (beside the air force base in Rome NY)
Info here: If you’re up there, please have a look – even at night: this one lights up after dark and is open all the time.

I have new work in MAPPING A GREEN FUTURE
October 9 - November 21, 2009
at the Center for Contemporary Art in Santa Fe NM
Gallery hours: Tuesdays - Sundays, 12p - 7p
info here:
My project was made during a recent residency there. Please stop by if you are in the area.

Happy Autumn!
Jenny Polak
718 797 1479
917 803 3187

179 Washington Park, Apt 3
Brooklyn, NY 11205



5. Nicolas Dumit Estevez, FF Alumn, at El Museo del Barrio, Manhattan, thru February 20, 2010

One of the components of the documentation of my performance "The Flag" is included in "Voces y Visiones" at El Museo del Barrio.


"Voces y Visiones"
On View thru Feb. 20, 2010
Curated by Elvis Fuentes, Curator, El Museo del Barrio

The premiere exhibition in our new Carmen Ana Unanue Permanent Collection Galleries celebrates El Museo's 40th anniversary. Over 100 works created by a cross-section of Latino, Caribbean, and Latin American artists trace the museum's history and the artistic contributions and milestones that have been part of El Museo's four decades. Highlighting the strengths of the collections, this installation ranges from artifacts of the ancient Taíno people and their legacy to traditional objects, postwar and contemporary art, including graphics, photography and mixed media installations.

El Museo del Barrio

The Empire State Building Shines Mango-Yellow to Celebrate El Museo
Friday, October 16 through
Sunday, October 18, 2009
In celebration of El Museo’s 40th anniversary and reopening, the Empire State Building will shine its world-famous tower lights in the museum’s signature mango-yellow from Friday, October 16 through Sunday, October 18, heralding the reopening to the entire city.



6. Lawrence Weiner, FF Alumn, at Espai d'art contemporani de Castello, Spain, opening Oct. 23

October 23rd 2009 - March 28th 2010

Opening October 23rd / 8 pm

Espai d'art contemporani de Castello
Prim s/n 12003. Spain
Telephone: + 34 964 72 35 40
Fax: + 34 964 26 07 71

Known as one of the pioneers of the so-called Conceptual Art, Lawrence Weiner defines himself as a sculptor who uses language as expressive means. Since late 60's his work has been materialized in books, animations and songs, T-shirts, pins, tattoos, sewer covers, posters… His proposal adapts itself mainly around the linguistic material. Weiner takes language as sculptural matter to create his works, the technique that he uses to compose Under the Sun, a project conceived to the Espai d'art contemporani de Castelló.

Weiner considers that the linguistic construction can cause the same reaction in the audience that a conventional object since the importance of the idea is above the materialization of the work. The concept is the piece of art independent of the support that is used.

Though Weiner's work is often disarmingly eloquent, flirting even with poetry, the work of art is not the text, but rather the idea (or content) that he sets out in language: the material, movement, or transition referenced by his words. As long as the content is conveyed, a piece may be re-created in a multitude of ways: spoken, as written language, or as a built manifestation of the object or circumstances the language describes.

Weiner handles language not in an hermeneutic way but in a constructive one; he does not distinguish between nouns or verbs, between objects and actions. As he himself expresses it, in his propositions it is not indicated a determined sense: "The art that for its appreciation imposes conditions to the receiver (…) constitutes in my opinion a fascist aesthetic. My art never gives directions".

In the last two decades Weiner has carried out works and exhibitions with texts directly painted or in vinyl on walls, floors or building facades; in posters and books that he himself designs. This way, Weiner's art does not exist only as language, even it is not limited to be written on a support, but it incorporates the vagueness of meaning that can exist as spoken or in translation. Placing his works in different clearly accessible contexts he voluntarily democratises his proposal.

Answering to the EACC invitation, Lawrence Weiner proposes the project Under the Sun in two versions: a work devised for public space, more specifically, in the city centre, and an exhibition which is actually its concept that unfurls in the space of the EACC.

The public work refers to questions as to what constitutes a public sculpture? Who and where is this public? Weiner reiterates these questions with this project, which will be carried out in three languages: Valencian, Spanish and English.

Under the Sun functions in two discursive contexts, each one alluding to different spaces and ways of meeting or spaces of reception.

Under the Sun joins together these two levels, the one related to language as a necessary and ephemeral stopping place presentation of the public piece and the other as a permanent inscription of the public work itself. They are both different but at the same time indissociable as they share the same poetry.

Under the Sun calls clearly in mind the bullfighting but also the lightness and the elegance of a wave that takes shape in the space as its own territory.

Under the Sun is an invitation of walking, playing or just simply exercising one's mind.



7. Theodora Skipitares, FF Alumn, at La Mama, E.T.C., Manhattan, thru Oct. 25

designed, directed, and written by Theodora Skipitares, THE TRAVELING PLAYERS PRESENT THE WOMEN OF TROY is a circus-like play-within-a-play featuring four female activists in 13-foot tall puppet form (based on four real-life female activists) – Jenni Williams and Tabitha Khumalo from Zimbabwe, Rebecca Lolosoli from Kenya and Shamsia Husseini, a teenage girl from Afghanistan - who, while enacting excerpts from Euripides' TROJAN WOMEN, each share a part of their own, often dangerous lives. Each performance will feature original music composed and performed by internationally acclaimed "circus composer" Sxip Shirey.

Every week Thursday, Friday, Saturday from Thu., October 8 until Sun., October 25, 7:30pm, Every week Sunday from Sun., October 11 until Sun., October 25, 3:00pm
Price: $18
La MaMa E.T.C.
74A E 4th St.
New York, NY



8. Chris Sullivan, FF Alumn, now online at http://tcdailyplanet.net/node/27112

here is a great review of my new piece, looking for venues. Chris Sullivan

link to review.



9. Laurie Anderson, Louise Lawler, Lawrence Weiner, FF Alumns at Swiss Institute, Manhattan, Oct. 30

Swiss Institute Annual Benefit Dinner & Auction 2009
Friday, October 30, 6PM - 11PM

Prince George Ballroom
15 East 27th Street,
Between Fifth & Madison Avenues, NYC

SI Award 2009
Bice Curiger

SI Artist Tribute 2009

Live auction by Simon de Pury, Chairman Phillips de Pury & Company

With art works by Rita Ackermann, John Armleder, Bastien Aubry, Linus Bill, Kerstin Brätsch/Adele Röder, Olaf Breuning, Genesis Breyer P-Orridge, Agnieszka Brzezanska, Stefan Burger, Luke Butler, Anne-Lise Coste, Michael Cline, Ann Craven, Fischli/Weiss, Amy Gartrell, Jacob Kassay, Richard Kern, Nuri Koerfer, Gabriel Kuri, Louise Lawler, Leigh Ledare, Jürg Lehni/Alex Rich, Nate Lowman, Jan Mancuska, Manon, Fabian Marti, Nick Mauss, Thom Merrick, Olivier Mosset, Gianni Motti, Samantha Moyer, Amy O'Neill, Marlo Pascual, Walter Pfeiffer, Richard Phillips, Davis Rhodes, Walter Robinson, Ugo Rondinone, Ilona Rüegg, Shirana Shahbazi, Meredyth Sparks, Annelies Strba, Taiyo Onorato/Nico Krebs, John Tremblay, Pierre Vadi, Lukas Wassmann, Lawrence Weiner, Andro Wekua (list in formation)

Bid online
6:00PM Cocktails and Silent Auction
7:30PM Dinner and Live Auction
9:30PM Silent Auction continues until 10:30PM with dessert buffet and open bar until 11:00PM

Buy your ticket(s) online
Or contact Yvonne Sparber directly at (212) 925-2035 x18, yvonne at swissinstitute.net

SI Chairwoman
Fabienne Abrecht

SI Honorary Chairman
H.E. Ambassador Christoph Bubb

SI Director
Gianni Jetzer

SI Benefit Committee
Diane Ackerman, Steve Alperin, Laurie Anderson and Lou Reed, Cristina and Thomas Bechtler, Serge Becker, Anette and Sami Bollag-Rothschild, Regula Bubb, Tom Burr, Regula and Beat Curti, Eliane Ganz-Heim, Victor Gisler, Barbara Gladstone, Florian Gutzwiller, Martin Hatebur and Peter Handschin, Maja Hoffmann/Luma Foundation, Gitti Hug and Martin Bölsterli, Frédérique Hutter, Alexandra Kerry, Terence Koh, Dmitry Komis and Zaldy, Leigh Ledare, Rachelle and Jean-Pierre Lehmann, Patrick Li, Regina Maréchal-Wipf, Matthew Marks, Gaby Nahmani, Carolina Nitsch and Dieter von Graffenried, Sabine Parenti, Eva Presenhuber, Beat Raaflaub, Cay Sophie Rabinowitz and Christian Rattemeyer, Loring Randolph, Janelle Reiring, Ugo Rondinone, Beatrix Ruf, Eric Schmid, Toni Schönenberger, Lisa Spellman, Claudia Steinfels, Fabienne Stephan, Susanne von Meiss, Jennifer and Veit Wagner, Christian Wassmann, Tracy Williams, Helene Winer, Manuela and Iwan Wirth, Michael Wolfson



10. Carolee Schneemann, FF Alumn, at KGB Bar, Manhattan, Oct. 29

There will be two events in NYC to celebrate
Emma Bee Bernstein and Nona Willis Aronowitz's
new book about young women and the future of feminism.

Girldrive reading at KBG Bar
Special appearances by
Kathleen Hanna, Michele Wallace, and Carolee Schneemann.
7 to 9 p.m. Thursday, Oct. 29
KGB Bar, 85 E 4th St
between 2nd and Bowery
Manhattan. Near to B, D, F, V, 6.

Girldrive launch party
6 to 9 p.m. Friday, Oct. 30
A.I.R. Gallery, 111 Front St., #228, Brooklyn, NY.
Close to the York St. F stop (first stop in Brooklyn).

The book is available at bookstores and online as well.
More information at: http://www.girl-drive.com/



11. Kate Gilmore, FF Alumn, in The New York Times, Oct. 16

The New York Times, October 16, 2009,
Smith-Stewart at Kumukumu Gallery 42 Rivington Street, Lower East Side
Through Oct. 31

Some art dealers forced to give up their leases in the dismal economy are taking cues from a current retail phenomenon, the pop-up store. The Smith-Stewart gallery, formerly of Stanton Street, inaugurates a nomadic program with a group exhibition based on the color pink. The art is cheerfully postfeminist (as you might expect) and mostly new (a pleasant surprise).

The installation makes the most of the gallery’s railroad-style layout. The show is front-loaded with seductive works like Marilyn Minter’s photograph "Pink Snow" (2009), with its explosion of sugary crystals, and Kate Gilmore’s video "Every Girl Loves Pink" (2006).

In her piece Ms. Gilmore tries to squirm her way out of an enclosed corner filled with blush-colored paper. Wearing ballerina tights and high heels, she kicks her legs against a plywood wall. Eventually she slumps, defeated, into her cotton-candy cave.

Standouts among the works made for this show include Lisa Kirk’s abstraction, "painted" with fire and makeup products on an oval linen canvas, and Huma Bhabha’s intense, magenta pastel of an alienlike female head. At the lighter end of the spectrum are Elif Uras’s shapely vase, decorated to look like the torso of a belly dancer, and Brian Lund’s drawings based on stage diagrams from "Cabaret."

Some artists seem uninspired by the theme, or hamstrung by the crowded, provisional setup. (Jason Fox, Jen DeNike and Mika Rottenberg are all capable of better.) But on the whole "Pink Panther" makes a good argument for the roving-gallery model and, for that matter, the monochromatic show. KAREN ROSENBERG



12. Maciej Toporowicz, FF Alumn, at Fundacja Wyspa Progress, Gdansk, Poland, opening Oct. 24


Project by Maciej Toporowicz

Opening night: October 24, 2009 at 6pm
The exhibition on view Tue-Su, 12am-6pm until December 10

Maciej Toporowicz presents installation of twelve video projections based on the twelve tone music by Arnold Schoenberg. In this method of creating music, all twelve tones are regarded as equal. All 12 notes are thus given equal importance. The atonal music is not only a way of composing music but also a vision of world and universe, where human being has a limited control of environment.The twelve-tone musical composition proposes a vision of the universe without a particular centre or peripheries.

There is only one space and all the elements are of equal value.
This radical concept was tremendously influential not only on composers but also on writers like Marshall McLuhan, Jean Baudrillard and others.
Its methodology is also similar to the principle of uncertainty developed at the same time by Werner Heisenberg.
Schoenberg experienced triskaidekaphobia (the fear of the number 13), which started in 1908 with the composition of the thirteenth song of the song cycle Das Buch der Hängenden Gärten.
He feared he would die during a year that was a multiple of 13.
He died on Friday, 13 July 1951.

Maciej Toporowicz also remixed and recorded short piano pieces by Arnold Schoenberg using electronic instruments and computers.
Maciej Toporowicz is a multi-media artist based in NYC known for his radical re-interpretations of art and advertisement, mostly Obsession, Lure. Shiseido, and others.

Fundacja Wyspa Progress
Instytut Sztuki Wyspa
ul. Doki 1/145 B
80-958 Gdańsk
tel. 58 320 44 46



13. Brody Condon, FF Alumn, at MoMA, Manhattan, Nov. 2, and more

Hi There, some upcoming November performances…

"Case" by Brody Condon
New Museum of Contemporary Art
Sunday, November 22 @ 12-6:00pm

A performance and installation based on the classic cyberpunk novel "Neuromancer" by William Gibson. The event is a deadpan reading of the novel by mostly non professional actors in a casual, dress rehearsal like atmosphere. Combining the 1980’s dystopian techno-fetishism of Gibson with early 20th century abstraction, faux "virtual reality" scenes will unfold via moving Bauhaus inspired sculptural props accompanied by the Gamelan ensemble Dharma Swarma.

The event at the New Museum is the premiere of "Case", which will also be performed at a small outdoor community theater in rural Missouri Summer 2010. The New York production of "Case" will feature many of the 10 cast members from the upcoming Midwest event, such as political activist (and notorious local hell-raiser) Ray "Bad Rad" Radtke who stars as the main character, Henry Dorsett Case, a drug addict and computer hacker hired to execute an impossible cyber-crime. "Case" will also feature Brooklyn based performance artist Sto as Lupus Yonderboy, leader of the techno-anarchist gang the Panther Moderns and the actress Sasha Grey as the street samurai Molly. The script has been prepared by the writer Brandon Stosuy, with sound design by Peter Segerstrom, and graphic props by Breanne Trammell.

This event is commissioned and presented by Rhizome at the New Museum. Additional support has been provided by the Performa Commissioning Fund.


"Without Sun" by Brody Condon
MoMA Theatre 2
Monday, November 2 @ 7:00pm

Condon’s "Without Sun" (2008), is an edited collection of ‘found performances’ – online videos of individuals who recorded themselves while having a psychedelic experience. The 15 minute video will be followed by a performative re-creation featuring the dancer Linda Austin and actor Russell Edge. Utilizing the original video as choreography document and script, the performers simultaneously repeat the gestures of the individuals, the actor mimicking the voices and the dancer matching the body movements. The title connects the references of memory, technology, and travel in Chris Marker’s seminal personal essay film "Sans Soleil" to the dissociation of bodily control and mental function induced by the hallucinogenic experience in the online videos. After the performance Condon will discuss "Without Sun" and its relationship to "Case," his upcoming performance adaptation of William Gibson’s classic cyberpunk novel "Neuromancer" (1984), held at the New Museum.

This program is part of Modern Mondays at MoMA, organized by Sally Berger, Assistant Curator, Department of Film. Special thanks to Lana Wilson and Performa.



14. Vitaly Komar, FF Alumn, at Feldman Gallery, Manhattan, opening Nov. 7

VITALY KOMAR NEW SYMBOLISM November 7 - December 24

The Feldman Gallery will exhibit paintings by Vitaly Komar from his new series, New Symbolism. The paintings visualize inexplicable ties between unrelated images and concepts that refer to the history of the former Soviet Union, religious iconography, and ancient symbols. The paintings are both representational and abstract. New Symbolism is intended to suggest a movement to restore the sundered connection between art and certain historical and timeless myths and to point to a new direction for the avant-garde.

In his new work, Komar synthesizes irony with spirituality based on his collaborative past and his recent concerns. Depictions of Lenin, Stalin, and state symbols of the former Soviet Union recall the ironic iconoclasm of SOTS ART (Soviet Pop/Conceptual art) founded by Komar and his collaborator Alex Melamid in the early 70's. Anachronistic details and heraldry comment on the historical continuum of unbridled political power. The paintings also reference Komar's last series, Three-Day Weekend, which honored the sacred days of the three monotheistic religions as a symbol of unity. In addition to religious subject matter - symbols, architecture, and Biblical figures - the paintings include geometric forms that contain within them a sense of beauty, balance, and harmony. Ancient symbols that stand for both the brevity of time (vanitas) and its infinity include an hourglass and an Ouroboros, the image of a serpent swallowing its own tail, which is set amidst a swirling cosmos.

The style of the paintings combines classicism with Cubo-Futurism, an early Russian avant-garde movement in the beginning of the twentieth century, derived from Cubism and Futurism and characterized by the fracturing of the image. Komar has described his new paintings as "a representation of the world as a kind of vision through diamonds."

Vitaly Komar was born in Moscow where he studied at the Moscow Art School and graduated from the Stroganov Institute of Art and Design. He has lived in New York since 1978. Komar worked in collaboration with Alex Melamid from 1973 to 2003.

The Feldman Gallery's first exhibition of the work of Komar & Melamid was of their smuggled artworks from the Soviet Union in 1976. Komar's series, Three-Day Weekend, was shown at the Feldman Gallery in 2005 and at the following institutions: the Cooper Union Humanities Gallery, New York and Ben Uri Gallery at The London Jewish Museum of Art where he received their 2004 International Jewish Artist of the Year award. His work was included in the Second Moscow Biennale in 2007 and in Medium Religion at the Center for Art and Media Karlsruhe, Germany, 2008 - 2009. The work of Komar & Melamid is included in 1989. End of History or the Beginning of the Future? at the Kunsthalle, Vienna through February 2010.

During the exhibition, Vitaly Komar will give weekly tours and lectures about his Free School of Visual Symbols on Friday, November 13, 20, December 4, 11, and 18 from 4 - 6. To make an appointment for another time, please contact Deana Capozziello at deana at feldmangallery.com.

There will be a reception on November 7, 6 - 8. Gallery Hours: Tuesday - Saturday, 10 - 6. Monday by appointment. For information, contact Sarah Paulson: (212) 226-3232 or sarah at feldmangallery.com.

31 Mercer Street | New York, NY 10013 | 212-226-3232 | www.feldmangallery.com



15. Diane Torr, Felix Gonzalex Torres, Robert Mapplethorpe, FF Alumns, at Gallery of Modern Art, Glasgow, Scotland, October 22

Hi there!!
Just to let you know -
I will be giving a talk about my work + short performance as "Jack Spratt"
at GoMA (Gallery of Modern Art) Glasgow as part of the sh(OUT) exhibition, on
Thursday, October 22nd - 6.30-8pm (this week).
If you haven't seen the sh(OUT) exhibition, come early and have a look around.
Artists represented include: Patricia Cronin, Nan Goldin, Felix Gonzalez-Torres, Sunil Gupta, David Hockney, Holly Johnson, Deborah Kass, Ins A Kromminga, Sadie Lee, Chad McCail, Robert Mapplethorpe, Catherine Opie, Grayson Perry, Pierre et Gilles, Jack Pierson, Lizzie Rowe, Diane Torr, and Del LaGrace Volcano .

Show closes on November 1st.

The event is FREE so hope to see you there.
Diane x



16. Marlena Kudlicka, FF Alumn, at Stary Browar, Slodownia, Poland, opening Nov. 2

I have my new work in the group show "Difference beyond Difference" in Poznan, Poland. If happens that you are in Poland feel invited to join us for the opening on the 2nd of November at 7pm.at Stary Browar, Słodownia The show runs till November 15th.

All my best
Marlena Kudlicka

Magdalena Abakanowicz, Mirosław Bałka, Kuba Bąkowski, Jan Berdyszak, Marcin Berdyszak, Wojciech Bruszewski, BUNT, Hubert Czerepok, Izabella Gustowska, Rafał Jakubowicz, Jakub Jasiukiewicz, Jerzy Kałucki, Piotr C. Kowalski, Jarosław Kozłowski, Mariusz Kruk, Marlena Kudlicka, Maciej Kurak, Piotr Kurka, Natalia LL, Dominik Lejman, Jerzy Ludwiński, Wojciech Łazarczyk, Andrzej Matuszewski, Agata Michowska, Antoni Mikołajczyk, Franciszek Orłowski, Maria Pinińska-Bereś, Krystyna Piotrowska, Piotr Potworowski, Joanna Przybyła, Zbigniew Rogalski, Mateusz Sadowski, Mikołaj Smoczyński, Konrad Smoleński, Andrzej Syska, Iza Tarasewicz, Marek Wasilewski, Stefan Wojnecki, Karolina Wysocka, Honza Zamojski

Curator: Agata Rogos

Most likely yet we aren’t engaged in art today.
It’s nevertheless obvious, that what we are engaged in today,
obtains more powers.
Jerzy Ludwiński



17. Slaven Tolj, FF Alumn, in Banja Luka, Bosnia-Hergegovina, thru Nov. 15

Where Everything Is Yet to Happen
1st chapter: "Can you speak of this? -Yes, I can"
October 20 - November 15, 2009

Banja Luka, Bosnia-Herzegovina

Curated by Ivana Bago & Antonia Majaca
@ Institute for Duration, Location and Variables (DeLVe)

Organized by:
Protok – Center for Visual Communication
Veselina Maslese 1/11, Banja Luka, BH

Co-curators of the '1st chapter' exhibition:
Anselm Franke, Vít Havránek & Zbyněk Baladrán, Ana Janevski, Erden Kosova, Nina Möntmann, Jelena Vesić

Participating artists and projects:
A.C.A.B., The Archive of Self-Management, Ziad Antar, Yael Bartana, Lutz Becker, Yane Calovski, Libia Castro & Ólafur Ólafsson, Chto Delat / What is to be done?, Ronen Eidelman, Esra Ersen, Ivan Grubanov, Nicoline van Harskamp (in coll. with Thijs Gadiot), Danilo Kiš, Aydan Murtezaoğlu, Dragan Nikolić, Florian Schneider, Slaven Tolj, Liu Wei, Sharif Waked, Eyal Weizman, Judi Werthein, Arthur Żmijewski, Želimir Žilnik

The title of the multi-faceted project Where Everything is Yet to Happen (WEIYTH) – starting off in Bosnia-Herzegovina in the framework of SpaPort Biennial 2009/10 – contains references to duration, location and variables of an expected event. These 'uncertain parameters' are located between a past that does not offer, in Badiou's terms, an event to which we would bind ourselves to fidelity, and a future from which one expects precisely that - the "miracle" of event.

Although Bosnia-Herzegovina is the starting point of the project - with its perpetuating state of political 'temporariness' resulting from the still unresolved ethnic tensions and war traumas, the lack of consensus on the basic geopolitical 'constitution' and the unending protectorate of the 'international community' – it is by no means the only 'place of expectation'. On the contrary, the project seeks to subvert the view of Bosnia-Herzegovina and the Balkans as the an¬tithetical periphery of Europe, and refuses to exoticise it as a 'space of conflict'. Rather, it establishes it as an originating point of the gaze for reflecting on the urgency to rethink the notions of future, community and co-existence beyond the dominant models of ethnopolitics and of the nation-state, both in 'transitional' as well as Western, 'advanced' neo-liberal democracies .

The 1st chapter of the project, the exhibition "Can you speak of this? -Yes, I can", takes its cue from Agamben's essay "On Potentiality' and his referece to Anna Akhmatova's introduction to her poem Requiem, in which she recounts how, while waiting in line in front of the Leningrad jail during the Stalin purges, a woman suddenly asked her if she could "describe this". To this request to articulate the horror that surrounded them, the poet answered affirmatively. As Agamben notes, "I can" here does not mean a conviction of the posses¬sion of certain capacities that guarantee success in 'describing' the indescribable, but a radical acceptance of the experience of potentiality – "[which] is, nevertheless, absolutely demanding".

By appropriating the question and its explicitly affirmative answer, the first chapter of the project WEIYTH is a way of setting up a stage for potentiality, one where "speech", but also a refusal to speak can take place - first of all by asking the basic question of what art can, and must, speak about in complex political environments such as BH, specifically the Republic of Srpska, without taking a form of yet another 'post/pre-emergency' biennial.

Answering this question emerges on the basis of curatorial 'complicity' - by the involvement of a group of co-curators the initial starting points of the project were further articulated, accentuated or questioned, and new ones instigated, evolving into a polyphonic structure that opens up space for several points of departure for the future of the project which is itself in constant mode of becoming.

''Can you speak of this? -Yes I can' is an elaboration of some of the themes and moments which have come into being gradually through the multidirectional communication among curators and artists, that reinforced its "diagnostic" and ''analytic'' capacity, forming the exhibition as an initial project the¬saurus comprised of a series of topics and questions related to the issues of complicity, collaboration, politics of language, belonging, culturalization of politics, the potential of non-essentialist forms of community and finally, the audacity of speech as a form of the political.

The exhibition is accompanied by a publication with contributions by the artists, curators and co-curators.

Exhibition opening:
Banja Luka Fortress, October 20, 2009, 8 pm
Roundtable discussion with Ivana Bago & Antonia Majaca, Vít Havránek, Ana Janevski, Anselm Franke and Jelena Vesic, October 20, 2009, 4 pm

Locations: Terzic Gallery | Salon of the Museum of Contemporary art | Banja Luka Fortress | Public space

WEIYTH is a project of the Institute for Duration, Location and Variables (DeLVe), conceived and developed by Ivana Bago & Antonia Majaca



18. Frank Moore, FF Alumn, at Temescal Arts Center, Oakland, CA, Oct. 24

The Underground Hit!
CRITIC'S CHOICE: East Bay Express
experiments in experience/participation performance

Frank Moore, world-known shaman performance artist, will conduct improvised passions of musicians, actors, dancers, and audience members in a laboratory setting to create altered realities of fusion beyond taboos. Bring your passions and musical instruments and your senses of adventure and humor.

Other than that,
ADMISSION IS FREE! (But donations will be accepted.)

Saturday, October 24, 2009

511 48th Street
Oakland, CA 94609-2058
For more information
Call: 510-526-7858
email: fmoore at eroplay.com

Upcoming performances in this series in 2009:
Friday, November 20
Friday, December 18

"...He's wonderful and hilarious and knows exactly what it's all about and has earned my undying respect. What he's doing is impossible, and he knows it. That's good art...." L.A. Weekly

"Merging improv, erotica, entertainment, religion and ritual, Frank Moore - self-styled shaman, world-renowned disabled performance artist, and 2008 presidential candidate ...." - East Bay Express

Resisting "the easy and superficial descriptions..., Moore's work challenges the consensus view more strongly in ways less acceptable than...angry tirades and bitter attacks on consumer culture." Chicago New City

"If performance art has a radical edge, it has to be Frank Moore." Cleveland Edition

"Transformative..." Moore "is thwarting nature in an astonishing manner, and is fusing art, ritual and religion in ways the Eurocentric world has only dim memories of. Espousing a kind of paganism without bite and aggression, Frank Moore is indeed worth watching." High Performance Magazine

"Surely wonderful and mind-goosing experience." L.A. Reader

Downloadable poster here:


In Freedom,
Frank Moore



19. Clemente Padin, FF Alumn, atr Alfredo Ramos Gallery, Mexico City, Mexico, October 29


Clemente Padín´s Fans Club has the pleasure of announcing the journey of his admired idol to Mexico in order to participate in the Biennial X of Experimental Poetry in Mexico City that will be inaugurated in October 29, 2009, in Alfredo Ramos Gallery, Culture House Reyes Heroles in Coyoacan Delegation of GDF, guest by Araceli Zuñiga and Cesar Espinosa, historic curators of Biennial whom have decided, in this instance, surrendering homage to the noted.

The noted will be housed in Hotel XI Quality Inn, Alvaro Obregon 38, Col. Rome, Delegation Cuauthemoc from October 26 to November 3. Also, the President of Clemente Padin´s Fans Club of Buenos Aires, Argentina, Beatriz Ramirez, will concur trying to document the event and explain the sociological and artistic nature of her Fans Club.

This is another service to community by the Clemente Padín´s Fans Club: clementepadin at gmail.com



20. Mark Tribe, FF Alumn, at LACE, Los Angeles, CA, thru Jan. 24, 2010, and more


I'm writing to let you know about a few places you can see my work this month.

"Mark Tribe: Port Huron Project" will open at LACE (Los Angeles Contemporary Exhibitions) this Tuesday, October 20, from 6-10pm. It's a video installation depicting a series of reenactments I staged last summer. The exhibition will run through January 24, 2010. LACE is at 6522 Hollywood Boulevard, a block and a half west of Cahuenga.

Here's what a Canadian blogger had to say about the project after seeing it at Trinity Square Video (through Oct. 31) in Toronto the other day: "There seemed to be uncertainty regarding the worthiness of the project. What's the point? Why is this art? I didn't mind though. I think one of the things I liked the most was the parallel temporality of the speech text and the present moment that the film was made. You look a the crowd and you see a guy with a bluetooth, woman with a misfits t-shirt - basically people dressed like they dress now - which sort of forces you to assess what the success and outcomes of the New Left's efforts were. The film confronts you with the question: if revolutionary culture did not break out, what did?"

I also have a new video in the forthcoming issue of Where We Are Now, launching this Saturday, October 17.

It's a remake of a scene from J-L Godard's La Chinoise (1967) in which a radical student contemplates bombing the university. The original scene took place on a train. This version takes place on the infobahn (Skype video chat, to be precise).

Last but not least, my new collage prints are on view at EFA Open Studios this weekend (Friday 6-9pm, Saturday 1-5pm): 323 W. 39th Street between 8th & 9th Avenues in what used to be known as the garment district.

These are based on collages I made while working on the Port Huron Project. I scan the collages, modify them on a computer, print them out at original size, and mount them on board. The result: layers of mediation in a trompe-l'oeil package.

With kind regards,




21. Reverend Billy, FF Alumn, at Highline Ballroom, Manhattan, November 1

A Prayer for Hot Democracy
Sunday November 1, 2009, 1 pm
Reverend Billy and the Life After Shopping Gospel Choir
Highline Ballroom, 431 W 16th Street, betw. 9 and 10 Ave
HighlineBallroom.com for $12 reservation, or email us at Revbilly.com for discounts and gifts



22. Joseph Kosuth, FF Alumn, at Musee du Louvre, Paris, France, opens Oct. 22

Ni apparence ni illusion (Neither Appearance nor Illusion)
October 22, 2009
through June 21, 2010
Ni apparence ni illusion (Neither Appearance nor Illusion)
Aile Sully, Louvre Medieval, Musée du Louvre, Paris, France
Opening on October 22, 2009

Sean Kelly Gallery is delighted to announce that the Musée du Louvre, Paris, France, has invited Joseph Kosuth to present a major neon installation in the museum beginning October 22, 2009.

Kosuth is the second contemporary artist to be commissioned to create a major new body of work, following Anselm Kiefer's project. Kosuth's work for the Louvre was written about by Carol Vogel in the New York Times article entitled "On a Mission to Loosen the Louvre" published on October 11, 2009: www.nytimes.com.

Along a 12th century sandstone passage, on the old walls of the ramparts of the medieval Louvre fortress, Kosuth will suspend 15 sentences in delicate white neon cursive writing, which invite the viewer to ponder the relationship between the museum space, archeology, history and the viewer's own subjectivity.

The installation will be on view until June 21, 2010.

For further information, please contact Maureen Bray at maureen at skny.com or visit the Louvre website at www.louvre.fr.



23. Gabriel Martinez, FF Alumn, at Univ. of North Carolina, Chapel Hill, thru Oct. 28

"The John and June Allcott Gallery at the University of North Carolina is pleased to present the work of Cuban-American, Gabriel Martinez. The exhibition continues through October 28th, 2009.

Martinez, a native of Miami, Florida, works largely with photography, performance and installation. Tip-toeing on the edge of the spectacular and the dramatic, Martinez creates work at the polarities of the male gender, working to further the understanding of his own queer identity and community in the interstitial spaces in between.

Martinez’s solo show here at UNC, will feature two pieces, a selection from his photographic series, "Self Portraits by Heterosexual Men (2007)" and a large sculpture, "Guerrero" (2009.)"

Thanks very much,

Gabriel Martinez



24. Naeem Mohaiemen, FF Alumn, at LABoral Centro, Gijon, Spain, opening Oct. 22

Cleaning up after the 20th century. What is progress now?
22.10.2009 - 05.04.2010

LABoral Centro de Arte y Creación Industrial, Gijón, Spain

Feedforward. The Angel of History addresses the current moment in history where the wreckage of political conflict and economic inequality is piling up, while globalized forces—largely enabled by the "progress" of digital information technologies—inexorably feed us forward. The exhibition title references Paul Klee's painting "Angelus Novus," which Walter Benjamin famously interpreted as an "angel of history" transfixed by the wreckage of the past that is piling up in front of him while being propelled backwards into the uncertain future by a storm from paradise


The exhibition, curated by Steve Dietz (Artistic Director of the 01SJ Biennial) and Christiane Paul (Director of the Media Studies Graduate Program, New School, NY; Adjunct Curator of New Media Arts, Whitney Museum of American Art) features 29 artworks by 27 artists and artist teams.

The projects are presented, as if in the rear view mirror of progress, in sections relating to five themes:
The "wreckage" of the 20th century created by wars and conflict
The countermeasures of surveillance and repression that the state as well as global capital set up in an to attempt to maintain control
The aesthetics and symbolic language of the media of our times
The forces of economic globalization such as outsourcing and migration
The possibilities of reconstruction and agency

Together, the projects featured in Feedforward create a complex picture of the global political and social forces that drive us forward. The exhibition features both the problematic aspects of the present and future, and the potential for collectivity and responsible action. At the nadir of the current global economic crisis, Feedforward is in effect about cleaning up after the 20th century and asks the question, what is progress now?

CURATORS: Christiane Paul & Steve Dietz
EXHIBITION DESIGN: Ángel Borrego – Office for Strategic Spaces
ARTISTS: AES+F, Christopher Baker, Stella Brennan, Paul Chan, Nancy Davenport, Nonny de la Peña y Peggy Weil, Hasan Elahi, Cao Fei, Bárbara Fluxá, Daniel García Andújar, Fernando García-Dory, Goldin + Senneby, Harwood, Wright, Yokokoji, Knowbotic Research + Peter Sandbichler, Langlands + Bell, Jennifer + Kevin McCoy, Margot Lovejoy, Naeem Mohaiemen, Ali Momeni + Robin Mandel, Carlos Motta, Trevor Paglen, Rachael Rakena, Fez Fa'anana, Brian Fuata, Stephanie Rothenberg + Jeff Crouse, System-77CCR Consortium, Piotr Szyhalski, Tamiko Thiel + Teresa Reuter, Carey Young

The Symposium Feedforward. The Angel of the History, will take part on October the 23 and 24. A panel of experts and artists in new media art will debate about some of the central topics of the exhibition.

PARTICIPANTS: Christiane Paul, Steve Dietz, Sarah Cook, Margot Lovejoy, Tamiko Thiel, Chris Baker, Jose Carlos Mariategui, Stephanie Rothenberg, Angus Cameron, Tiziana Terranova, Piotr Szyhalski, Naeem Mohaiemen, Barbara Fluxá, Esther Leslie, Hasan Elahi, Konrad Becker y Marco Peljhan, Nonny de la Peña y Peggy Weil, Knowbotic Research, Tom Levin, Jaron Rowan y Clara Piazuelo, Tere Badía, Emmanuel Rodríguez, Graham Harwood, Eric Kluitenberg, Daniel G. Andújar, Fernando García-Dory, Carlos Motta, Ali Momeni.

LABoral Centro de Arte y Creación Industrial is a space for artistic exchange. It is set up with the purpose of establishing an effective alliance between art, design, culture, industry and economic progress and the goal of becoming a space for interaction and dialogue between art, new technologies and industrial creation. It throws a special spotlight on production, creation and research into art concepts still being defined.

LABoral Centro de Arte y Creación Industrial
Los Prados, 121
33394 Gijón (Asturias) Spain
Tel: +34 985 185 577
Fax: +34 985 337 355
info at laboralcentrodearte.org

Opening Hours: Wednesday to Monday, 12 noon - 8 pm



25. Jibz Cameron, FF Alumn, at NYU, Manhattan, Oct. 26

NYU's Department of Performance Studies presents the first event in this year'sPerformance Studies Lecture Forum:


Jibz Cameron is a musician and performance artist, known for her one-woman performance persona Dynasty Handbag. She is currently a visiting lecturer in Performance Studies. K8 Hardy is a video and performance artist and is one of the founding editors of LTTR, a radical gender-queer, lesbian-feminist art collective and journal. She also works as a fashion stylist for clients including Fischerspooner and has made music videos for bands such as Lesbians on Ecstasy and Le Tigre. Please join us on

MONDAY, OCTOBER 26th, 7-8:30PM to see these two cutting edge downtown New York artists in conversation about gender, politics, performance persona, and whatever else you want to ask them about.

Located in the Performance Studies Studio at Tisch School of the Arts (721 Broadway, 6th Floor)

FREE. Reception (with free food and drinks!) following talk.

No reservations required for NYU students and faculty.
Non NYU-affiliated folks please RSVP to:
PSLectures at gmail.com

The Performance Studies Lecture Forum is a series of evening events featuring preeminent scholars and practitioners in the fields of art and performance. The events are presented on weekday evenings in the department's studio space, and are designed to create an informal and intimate setting for intellectual exchange among artists, students and scholars.




Goings On is compiled weekly by Harley Spiller

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
Angel Nevarez, Program Coordinator
Susie Tofte, Project Cataloguer
Judith L. Woodward, Financial Manager