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Contents for January 9, 2010

1. Lynn Cazabon, FF Alumn, at Earlville Opera House, NY, opening Jan. 9
2. Simone Forti, FF Alumn, at Baryshnikov Arts Center, Manhattan, Jan. 14, and more
3. Chris Sullivan, FF ALumn, at Rhino Theater Festival, Chicago, IL, Jan. 22-Feb. 14
4. Joan Jonas, FF Alumn, in The New York Times, Jan. 8
5. Felix Gonzalez-Torres, FF Alumn, at WIELS, Brussels, Belgium, opening Jan. 15
6. Peggy Shaw, FF Alumn, at The Public Theater, Manhattan, Jan. 8-17
7. Dominic Alleluia, FF Alumn, at A440 Gallery, San Francisco, CA, opening Jan. 9
8. Dan Perjovschi, FF Alumn, at Lombard-Freid, Manhattan, opening Jan. 14
9. Stefanie Trojan, FF Alumn, at Stedelijk Museum Hof van Busleyden, Mechelen, Belgium, opening Jan. 16
10. Iris Rose, FF Alumn, at Dixon Place, January, and more
11. Alan Sondheim, FF Alumn, at Dance New Amsterdam, Jan. 21-24
12. Babs Reingold, FF Alumn, at Morean Arts Center, St. Petersburg, FL, January 15-March 13
13. Thatcher Keats at Christopher Henry Gallery, Manhattan, starting Jan. 27
14. Making Space at Superfront, Brooklyn, thru March 27

1. Lynn Cazabon, FF Alumn, at Earlville Opera House, NY, opening Jan. 9

Lynn Cazabon: The Archive's Shadow
Solo exhibition at The Earlville Opera House
Jan 9 - Feb 20, 2010, Earlville, NY



2. Simone Forti, FF Alumn, at Baryshnikov Arts Center, Manhattan, Jan. 14, and more

Simone Forti is coming to New York this January, for two events. On Thursday, Jan 14, there will be a screening of "Simone Forti: An Evening of Dance Constructions" at BAC Flicks, together with a live performance of Huddle and a discussion with the artist. On Saturday, Jan 23, Simone will read from her recent writings and perform a News Animation at the Emily Harvey Memorial Gallery. Please see attached for more information.



3. Chris Sullivan, FF ALumn, at Rhino Theater Festival, Chicago, IL, Jan. 22-Feb. 14

Chris Sullivan Franklin Furnace Alumn, will be performing his piece Mark The Encounter at the Rhino Theater Festival in Chicago. http://www.rhinofest.com Jan 22-Feb 14, 2010

Christopher Sullivan
Dept. of Film/Video/New Media
School of the Art Institute of Chicago
112 so michigan
Chicago Ill 60603
csulli at saic.edu



4. Joan Jonas, FF Alumn, in The New York Times, Jan. 8

The New York Times
January 8, 2010
Art Review | Joan Jonas
Still a Renegade After All These Years
It helps to think of time as cyclical, or at least non-Western and nonlinear, when encountering Joan Jonas’s "Mirage" at the Museum of Modern Art. The latest installation of a piece conceived in 1976, it suggests that Ms. Jonas’s art has a longer-than-usual lifespan because it’s constantly being reborn.

"Mirage" began as a performance at Anthology Film Archives, inspired by Ms. Jonas’s trip to India in 1975. In two subsequent presentations, in 1994 and 2005, it evolved and expanded to include films, videos and various sculptural components.

Undeterred by the piece’s unwieldiness, MoMA acquired it in 2007. This is the first exhibition of "Mirage" since it entered the collection, and the seventh installment in MoMA’s Performance series. The installation was supervised by Barbara London, an associate curator in the department of media and performance art, with input from Ms. Jonas. The museum will also screen some of Ms. Jonas’s films and videos on April 29 and 30.

In its current form at MoMA, "Mirage" consists of six moving-image works arranged in a loose circle and accompanied by a series of props: metal cones, chalkboards, a mask and a wooden hoop, among other objects. Performance, drawing, dance and video combine and recombine in arcane but thrilling ways.

All of this makes an argument for performance art as a continuing experience, rather than a one-time event — something that can be integrated with other mediums and updated constantly. It also suggests that Ms. Jonas, who is in her early 70s, is thinking about her legacy.

The moving-image works — projected 16-millimeter films and videos, as well as other videos displayed on monitors — mostly date from 1976. They include a side-by-side pairing, "Mirage 1" and "Mirage 2," that anchors the installation. Some of the surrounding works, like "Good Night Good Morning," are classics in their own right.

The space, MoMA’s media gallery, isn’t ideal. On the second floor, it funnels crowds between the atrium and the contemporary galleries. One benefit of this setup, however, is that tourists looking for the Tim Burton survey stumble on something at least as witchy and electric.

In "Mirage 1`" (1976), Ms. Jonas draws, erases and redraws Gnostic symbols on a chalkboard. The action in "Mirage 2" (1973/2000) is harder to follow: Ms. Jonas blows into a large metal cone, interacts with a rabbit and does strange contortions on a rock formation. She also incorporates a newsreel of President Richard M. Nixon on a state visit abroad, with commentary from Dan Rather and Walter Cronkite — a gesture that grounds her mysterious rites in Watergate-era notions of secrecy.

The other films and videos in "Mirage" compete for attention, some more clamorously than others. "Volcano Film," a compilation of eruption footage projected on a giant screen, works as a kind of scenic backdrop — you can watch it out of the corner of your eye. But "Good Night Good Morning," in which Ms. Jonas repeatedly addresses the camera, demands more sustained viewing.

Myth, ritual and border crossing are the common denominators. Structural tics like the "roll," the lines that appear on a malfunctioning analog television screen, figure prominently. Also relevant is Ms. Jonas’s habit of turning the monitors on their sides, a neat trick that forces you to think of them as sculpture.

In "Car Tape" she points her camera out the window of a moving vehicle, but the roll keeps interrupting; the landscape can’t be apprehended for more than a few seconds at a time. That this hiccup proves deeply frustrating, on a physical and ontological level, suggests that the car governs our sense of duration more than we like to think.

The syncopated, jumpy quality of "Mirage" is to some extent typical of early video art, but it also feels remarkably current. It’s easy to forget that Ms. Jonas was one of the first artists to use video —sometimes live feeds, sometimes recorded — in her performances. Younger artists like Robin Rhode, who films himself interacting with his own drawings, are hanging on her coattails.

You can see Ms. Jonas in action, at Anthology Film Archives and elsewhere, in a series of photographs. She plays hopscotch, slips through hoops, dons masks and strikes yogic poses.
"Mirage" isn’t as overtly multicultural as some of Ms. Jonas’s later works. If you aren’t familiar with the tribal rituals of New Guinea, for instance, you might not know that the chalk drawings in "Mirage 1" relate to the Melukean Book of the Dead.

Yet part of the beauty of this installation, and of Ms. Jonas’s work in general, is that it’s cryptic without being inaccessible. You don’t need to have seen her 2003 retrospective at the Queens Museum, or her recent project on Dante for Performa 09, to find a way into "Mirage."

To some extent, that’s because you never really know what she’s up to. So many contemporary artists seem intent on demystifying every part of the art experience, in written statements and telegraphed homages. Ms. Jonas, to her credit, keeps things unpredictable and open-ended.

"Performance 7: Mirage by Joan Jonas" continues through May 31 at the Museum of Modern Art; (212) 708-9400, moma.org.



5. Felix Gonzalez-Torres, FF Alumn, at WIELS, Brussels, Belgium, opening Jan. 15

Felix Gonzalez-Torres
Specific Objects without Specific Form
January 16th - April 25th 2010
Opening January 15th, 18:00 - 21:00

Curated by Elena Filipovic with
Danh Vo (at WIELS, Brussels),
Carol Bove (at the Fondation Beyeler, Basel)
and Tino Sehgal (at the Museum für Moderne Kunst, Frankfurt am Main)

Avenue Van Volxem 354
1190 Brussels – Belgium


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WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation. Including both rarely seen and more known paintings, sculptures, photographic works, and public projects, reflecting the full scope of Gonzalez-Torres' short but prolific career and drawn from the Estate of Felix Gonzalez-Torres as well as public and private collections throughout the United States and Europe, this groundbreaking exhibition proposes an experimental form that is indebted to the artist's own radical conception of the artwork.

Defying the idea of the exhibition as fixed and the retrospective as totalizing, Felix Gonzalez-Torres. Specific Objects without Specific Form offers instead several exhibition versions, and none the authoritative one, all the better to present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artwork. At each venue in which the show will be hosted, the exhibition will open to the public and then halfway through its duration, it will be taken down and re-installed by a different invited artist whose practice has been informed by Gonzalez-Torres' work. Curated by Elena Filipovic, a first version of Felix Gonzalez-Torres. Specific Objects without Specific Form will open to the public at WIELS on January 16, 2010 and, on March 5, 2010, the artist Danh Vo will undo that show and re-install it—adding and removing artworks, changing such things as lighting, labels, and the order of presentation, in other words, effectively making an entirely new version of the exhibition.

Inspired by Gonzalez-Torres' understanding of the artwork as potentially infinite in meaning and as well as his practice of changing the arrangement of artworks weekly in the case of one exhibition ("Every Week There Is Something Different," 1991) or, in another, shifting the form and content of an exhibition when it went from one venue to another ("Traveling," 1994), Felix Gonzalez-Torres. Specific Objects without Specific Form grounds its approach in Gonzalez-Torres' very personal understanding not only of the art exhibition, but also of the artwork writ large. The resulting retrospective, initiated and organized by WIELS in collaboration with the Felix Gonzalez-Torres Foundation, New York, underscores not only the enduring legacy of Felix Gonzalez-Torres' oeuvre, but also several very distinct aspects of his work: from its vulnerability to its concern with formal issues to its scathing social critique, each of these is emphasized in one of the versions of the traveling exhibition.

1 retrospective, 3 venues, 6 versions, 3 artist-curators: Felix Gonzalez-Torres. Specific Objects without Specific Form will offer its visitors the possibility of finding a new interpretation of Gonzalez-Torres' engaged and complex body of work with each visit. The curatorial interventions of the invited artists—Danh Vo at WIELS, Brussels; Carol Bove at the Fondation Beyeler, Basel; and Tino Sehgal at the Museum für Moderne Kunst, Frankfurt am Main—will emerge from different interpretations of the meanings and presentation possibilities for Gonzalez-Torres' work. Felix Gonzalez-Torres. Specific Objects without Specific Form thus acknowledges that the way an exhibition begins and ends its "story," the emphasis it places on one aspect more than another, the way it presents individual artworks, the juxtapositions it constructs, the mood it creates (because the works of art are hung sparsely or densely, shown theatrically or in bright institutional light, emphasizing their monumentally or rather their vulnerability, etc.), in addition to the way an exhibition is discursively presented—all of these potentially shift the way that a body of work might be understood by its public. And all of these participate in the construction of the meaning and reception of an oeuvre, which is to say, nothing less than the construction of history.

The tour of the exhibition will be followed by a fully illustrated catalogue documenting each version of the exhibition and including essays by Elena Filipovic, Danh Vo, Carol Bove, and Tino Sehgal as well as interviews with artists of various generations. Essentially a publication determined by the voice of artists, Felix Gonzalez-Torres. Specific Objects without Specific Form will underscore the decisive impact and importance of Gonzalez-Torres' work on art practices today. Due to appear in 2011.

WIELS Contemporary Art Centre, Brussels (with Danh Vo)
January 16 - April 25, 2010

Fondation Beyeler, Basel (with Carol Bove)
May 21 - August 29, 2010

MMK-Museum für Moderne Kunst, Frankfurt am Main (with Tino Sehgal)
January 28 - April 25, 2011.

Avenue Van Volxem 354
1190 Brussels – Belgium
Wed – Sat 12:00 – 19:00
Sun 11:00 – 18:00
T +32 2 340 00 50

Press & Communication
angie.vandycke at wiels.org



6. Peggy Shaw, FF Alumn, at The Public Theater, Manhattan, Jan. 8-17

MUST the inside story
Running Time: 60 minutes
Clod Ensemble in collaboration with Peggy Shaw / Produced by Fuel (UK)
$15 tickets at publictheater.org or 212-967-7555
The Public Theater 425 Lafayette Street

In collaboration with the celebrated UK-based Clod Ensemble, legendary New York performance artist Peggy Shaw takes the audience on a journey across the landscape of her own body. Renowned for her own gender-bending autobiographical work, she recounts her extraordinary experiences of the medical profession from her current perspective as a 65-year-old lesbian grandmother. MUST weaves together the stories of a lifetime - giving birth on the way to Woodstock, her mother's electric shock treatment in 1950s America, the loss of a loved one – with projected microscopic images and live musicians performing a powerful score.

January 8–17
Thurs. Jan 7th 5:30pm
Sat. Jan 9th 9:30pm
Sun. Jan 10th 7pm
Tues. Jan 12th 7pm
Wed. Jan 13th 7pm
Fri. Jan 15th 9:30pm
Sat. Jan 16th 7pm
Sun. Jan 17th 2pm



7. Dominic Alleluia, FF Alumn, at A440 Gallery, San Francisco, CA, opening Jan. 9

Dominic Alleluia, FF Alumn.
Paintings and Works
Susan Alleluia, Video
A440 Gallery, 49 Geary St. # 440, San Francisco, Ca. 94108
1/2/10 - 1/30/10
Artist Reception: Sat. 1/9/10 2-5 PM



8. Dan Perjovschi, FF Alumn, at Lombard-Freid, Manhattan, opening Jan. 14

Dan Perjovschi
Postcards from the World

January 14 - February 20, 2010
Opening reception: Thursday, January 14, 6 - 8pm

Postcards from the World, Dan Perjovschi's second solo exhibition at Lombard-Freid Projects, premiers a new work that maps the artist’s worldwide travels in dialogue with an historic piece of his, Postcards from America (1994). Known for his insightful social and political commentaries in the form of ephemeral wall drawings in museums, biennials and galleries, this unique installation will be his first exhibition devoted entirely to works on paper in over a decade. In each piece, more than 500 postcard-sized drawings of observations from his travels in the US and throughout the world are sketched with incisive punch and succeed in being as humorous and satirical as they are empathetic and profound. The exhibition offers an opportunity both to contemplate the historical time that separates these important pieces, and to acknowledge the underlying similarities and enduring issues.

Perjovschi responds to his immediate environment, delivering a personal interpretation to that which defines the local atmosphere of his given context. Never before exhibited in the gallery, Postcards from America is a major piece realized during a ten week artist-residency in 1994, which brought him to the United States for the first time. Having grown up in Romania under the autocratic regime of Nicolae Ceausescu, the visual diary of his impressions and reflections shows a confrontation with an idealized, mythical America. The artist approaches each new geographic destination with similar interest in examining reductive stereotypes, most often those perpetuated in the media, against his own perceptions and experiences.

Sixteen years later, Perjovschi has become an internationally acclaimed artist, scouting the world to transform the walls of exhibition halls from Stockholm to Beijing, and sketching his perceptions along the way for this new work. Postcards from the World engages these subjects with characteristic aplomb and wit, as each drawing combines graphic impact and smart wordplay. Taking inspiration and material from the local popular media, he touches upon the most trying and significant issues that mark our time - economic instability, religious fanaticism, terrorism, nationalism, consumerism - without being grim. In just a few strokes of black marker, he distills the current state of affairs of each site. Beyond politics, Perjovschi is never shy to expose the inner workings of the international art world within its own system replete with contradictions, while illuminating the role of the artist in society.

Perjovschi, born in Sibiu, Romania in 1961, lives and works in Bucharest, Romania. Current and upcoming exhibitions include Strange and Close, Vanabbemuseum, The Netherlands; The Promises of the Past, Centre Pompidou, Paris, France; Dan Perjovschi: Late News, Royal Ontario Museum, Toronto, Canada; Draw, San Francisco Art Institute, US; Project Europa: Imagining the (Im)Possible, Harn Museum of Art, University of Florida, US; Lodz Biennial, Poland.

The artist and Lombard-Freid Projects are grateful for the generous support of the Romanian Cultural Institute in New York.

531 W. 26th Street, Manhattan, www.lombard-fried.com



9. Stefanie Trojan, FF Alumn, at Stedelijk Museum Hof van Busleyden, Mechelen, Belgium, opening Jan. 16

16/1 - 18/4 |
Who's Afraid of the Museum?
Hof van Busleyden, Mechelen,

Stedelijk Museum Hof van Busleyden
Frederik de Merodestraat 65
2800 Mechelen

with Sergey Bratkov, Sarah Corynen, Johan Creten, Luc Dondeyne, Andrei Dureika - Janna Grak - Andrei Loginov - Maxim Tyminko - Maxim Wakultschik, Bren Heymans & Djo Moembo, Allart Lakke, Stephanie Mold, Jérôme Porsperger, Thomas Raat, Fatou Kandé Senghor, Stefanie Trojan, Pieter Van Damme, Willem Weismann, Laura Wilson

The opening/preview of 'Who's Afraid of the Museum?' is on Saturday 16th of January, from 3 - 7 PM, with a performance of Stefanie Trojan from 4-6pm, music performance of Jérôme Porsperger

afterwards there's is a reception in the In De Garage Onder den Toren 12A, 2800 Mechelen


Following the very successful remodelling of the outside grounds, the Museum Hof van Busleyden’s inner spaces are to be renovated as from the summer of 2010. This is a unique opportunity to organise a final exhibition in the old rooms, with a thematic focus on the "the way in which the museum can present its collection in a different way, and how contemporary art can play a part in creating a new dynamic, or make the collection speak in a different way."

The contemporary art works will mainly be presented in confrontation with the existing collection which includes works from the 16th to the 20th century.

The city of Mechelen’s (Malines’) rich historical past is reflected in the very building of the Museum Hof van Busleyden and its collection. A select group of Belgian and international artists enter into a dialogue with a variety of objects such as torture devices, paintings, drawings, sculptures, gilded leather, chasubles or furniture. The contemporary artists’ additions, confrontations, or interventions create a provocative artistic narrative at

(the) Hof Van Busleyden.

‘Who’s Afraid of the Museum’ is reminiscent of the controversial 1962 play ‘Who’s Afraid of Virginia Woolf’ by Edward Albee. In this play, illusions are mentally stripped bare and one is confronted with the harsh reality of existence. The title of the exhibition refers perhaps even more to American artist Barnett Newman’s painting series ‘Who’s afraid of Red, Yellow and Blue’. Just like Piet Mondriaan he sought the limitations of primary colours to come to the essence and the origin of painting.

Collecting is one of the museum’s primary functions. Familiar objects or works of art come to life in a different way through confrontation and dialogue.

The exhibition’s curators [Bert de Leenheer, Dirk Vanhecke en Stef Van Bellingen] invited artists Sergey Bratkov, Sarah Corynen, Johan Creten, Luc Dondeyne, Andrei Dureika -Janna Grak - Andrei Loginov - Maxim Tyminko - Maxim Wakultschik, Bren Heymans and Djo Moembo, Allart Lakke, Stephanie Mold, Jérôme Porsperger, Thomas Raat, Fatou Kandé Senghor, Stefanie Trojan, Pieter Van Damme, Willem Weismann en Laura Wilson to create a new artistic exploration at the Hof van Busleyden.

On the occasion of the exhibition 'Who’s Afraid of the Museum?' a catalogue will be published: you can download a pdf-version [without the cover].

Stedelijk Museum Hof van Busleyden

Frederik de Merodestraat 65
2800 Mechelen

Tel : +32 15 29 40 30
Fax : +32 15 29 40 31
GSM: +32 478 811 441 [bert]
GSM: +32 475 477 478 [dirk]

Tue to Sun from 10:00 until 17:00
(Mon closed)
last admission at 16:30

Free entrance



10. Iris Rose, FF Alumn, at Dixon Place, January, and more

Theater of the Grasshopper is doing a revival of "Sloth" from 1988 (originally part of Watchface:Sin) at Little Theater, the new Dixon Place’s monthly sampler of performance (info below). "Sloth" will also be part of TV Show, a full-length show about television that will run for 3 weeks in February (details to follow soon). Hope to see you at one, the other, or both!

Little Theatre, Vol X, No. 5 - January, 2010

created and performed by Yve Laris Cohen

Job is a pretty vehicle. Is adapting. Is pretty and a means to. Is telling.

excerpt of a play by Siobhan Antonioli,
directed by Melissa Fendell,
with John Farrell, Cary Hite, Sandie Luna, Shayna Padovano & Caroline Calkins
assistant director: Brandi Klein

Welcome ladies and monsters to Mercato....
a recent play about a freak violinist with an extra hand !

a performance by Maggie Robinson,
with puppets by Justin Perkins and Emma Wiseman

Needless to say there are no puppets in this showing of The Ballad of Booth.

Theater of the Grasshopper presents SLOTH:
written and directed by Iris Rose,
with Camila Jones, Alison Brasky, Lily DePaula & Jake Deter

"Sloth" was created in 1988 as part of Watchface: Sin—a show in which each of the seven members of the performance group Watchface took on one of the Seven Deadly Sins—and originally performed at the original Dixon Place on East 1st Street. The current revival of "Sloth" will be part of TV Show, an evening of four short plays, one video and some personal thoughts about television.

music, stories & song

"This guy is a bard!" - Trixie von Mothersbaugh

Monday, January 11, 2010 — 8:00 pm @ the new Dixon Place

161A Chrystie btw. Delancey & Rivington (F/V 2nd Ave; 6 Bleecker; JMZ Bowery)

Tickets $15.00 @ the door or online (www.dixonplace.org)
but just $12.00 with a printout of this message
1st come, 1st served, no reservations



11. Alan Sondheim, FF Alumn, at Dance New Amsterdam, Jan. 21-24


Foofwa d'Imobilite: Musings
Foofwa d'Imobilite, Azure Carter, Alan Sondheim: Involuntaries

January 21-24
Performance Times: Thursday, Friday, Saturday at 8:00pm, Sunday at 3:00pm
Ticket Prices: $17 ($12 members, $10 RUSH tickets)

Please come to this amazing event!

Dance New Amsterdam
280 Broadway, 2nd Floor (entrance on Chambers, near City Hall)
New York, NY 10007
Phone: 212.625.8369
Fax: 212.625.8313
E-mail: info at dnadance.org

Foofwa d.Imobilite/Neopost Ahrrrt
Musings and Involuntaries 1.6
January 21 . January 23 at 8:00pm, January 24 at 3:00pm
Post show discussion moderated by Nancy Dalva on January 21st

The efforts of Foofwa d'Imobilite and collaborators Alan Sondheim andAzure Carter result in Involuntaries 1.6, a world premiere that saunters along the edge of reason. The US premiere, Musings, is a collaboration with lighting designer Jonathan O.Hear and reflects on the ideas of icons; John Cage and the late Merce Cunningham. The performance will also include the screening of videos by Foofwa d'Imobilite and Alan Sondheim.

US Premiere
Choreographed by Foofwa d'Imobilite
Performed by Foofwa dit Mobilit
Music by Foof Mobile
Lighting Design by Jonathan O.Hear

Musings should have been a duet and will bear the mark and weight of absences, hence its subtitle: "solitary duet." The piece is structured in a succession of several "musings," separated by nothingness.

The title implies the notions of "daydreams," "meditations," "reflections," "studies" and "introspections." Each "musing" includes a moment of meditative study around some of Merce Cunningham.s and John Cage's ideas - independence of dance and music, using chance as a way to make artistic decisions and Zen Buddhist philosophy applied to theatrical art = adding a curious and lively look to it. - Foofwa d'Imobilite

Involuntaries 1-6
World Premiere
A Production of Foofwa d.Imobilite/Neopost Ahrrrt
Collaboration with Alan Sondheim and Azure Carter
Performed by Azure Carter, Foofwa d'Imobilite, and Alan Sondheim
Dance/choreography/performance by Foofwa d'Imobilite
Song/performance by Azure Carter
Music by Alan Sondheim (cobza, yayli tanbur, hegelung, electric oud
and saz, cura cumbus, ukulele)
Costumes by Basse-Couture

"If you want to understand what they.re about, perhaps these works will open up the vast chasm of comprehension on the edge of falling apart - I can't think of any better pieces in this regard, and, for that matter, in the sheer beauty of fractured movement."

- from Breaking New Ground by Alan Sondheim

For the DNA performance, we are screening several videotapes illustrating
body performance in real and virtual worlds.

One of the things that has been most important for us has been the bridges between "real" and "virtual" worlds. The two are intertwined, and I believe that the "real" body is a cultural production, virtual in a way as well. Foofwa moves among any number of worlds, as do my avatars and online work; at times it is difficult to know where virtual worlds begin and the real ones (for there are more than one) end. We have been able to explore these issues, as well as those of "technological" and "natural" movements, consistently throughout our projects.

Foofwa d'Imobilite

Born Fredric Gafner in Geneva in 1969 from parents in dance and photography, Foofwa d'Imobilite studied at the Ecole de Danse de Genve and was a member of the Geneva-based Ballet Junior. He danced professionally with the Stuttgart Ballet in Germany (1987-1990) and with the Merce Cunningham Dance Company, in New-York (1991-1998). In 1998, he started his own work with solos and duets. Basing himself in Geneva, he founded Neopost Ahrrrt in 2000 and created : Media Vice Versa (2002), on media and digital images, Perform.dancerun.2 (2003), on the relations between dance and sport, and Injuria (2004), on the precariousness of dancers. conditions. He collaborated on three pieces with French choreographer Thomas Lebrun: Le Show (2001), Un-Twomen-Show (2004) and MIMESIX (2005) and toured throughout Europe with them. He created also Benjamin de Bouillis (2005), a solo about out-of-body experiences, Live & Dance, (2005) a piece for 8 dancers or non-dancers, Incidences (2006), a multi-media and indeterminate piece about rituals and primitivity, BodyToys (2007), a trio about the manipulated bodies of the entertainment business, and The Making of Spectacles (2008), a quartet asking the audience to construct the dance by voting in a public, democratic process. Foofwa made numerous dance videos and collaborated with artists such as Alan Sondheim, Nicolas Rieben, Christian Marclay and Antoine Lengo and has had large group pieces commisioned by the Nederlands Dans Theater 2, the Bern Ballet and the Ballet Junior. He won several international dance competitions, among them, a bronze medal at the 1986 International Dance Competition in Jackson, Mississipi, a 1987 Prix Professionnel at the Prix de Lausanne, a 1995 New York Bessie Award and the 2006 Swiss Prize for dance and choreography. He is a recepient of a 1999 Swiss-based Fondation Leenaards cultural grant, and a 2009 individual grant from the New York-based Foundation for Contemporary Arts.

For Carter/Sondheim biography and other information:


We hope to see you at the event!



12. Babs Reingold, FF Alumn, at Morean Arts Center, St. Petersburg, FL, January 15-March 13

Hi All,

My solo show at the Morean Arts Center opens January 15 and runs through March 13, 2010. See links to my website for more info on the installation, drawings and sculpture.

I Look forward to seeing you opening night.


My art is changing from a personal on-wall narrative to installation queries about conditions that influence all people. "Hung Out In the Projects" centers on poverty, a first-hand experience for me. That poverty exists at all within our rich nation is disheartening. That over thirteen percent --- nearly forty million people --- lives below the poverty level is criminal, ranking our country among the highest among industrialized countries...

My Best,
Babs Reingold
babs.rr at verizon.net
babs.rr at gmail.com

The Morean Arts Center
719 Central Avenue, St. Petersburg Florida 33701
January 15 - March 13, 2010
Opening Reception: Friday, January 15, 2010
5:30 - 7:30 pm



13. Thatcher Keats at Christopher Henry Gallery, Manhattan, starting Jan. 27

Photographer Thatcher Keats will be teaching a private workshop at The Christopher Henry Gallery on Elizabeth Street starting January 27th.
For information and reservations, please visit
Thatcher Keats work has appeared in numerous magazines from Vice to Vanity Fair. His book CONFIDENCE GAMES was published in 2006.

Thank you for your consideration.

Thatcher Keats



14. Making Space at Superfront, Brooklyn, thru March 27

January 3 – March 27, 2010
1432 Atlantic Avenue
Brooklyn, NY 11216
Sunday, January 3, 2010, 5 to 8 pm
Subway: A train to Nostrand Avenue. Walk 2 avenue blocks east to Brooklyn Ave and 2 short blocks south to Atlantic Ave.

3 January – 27 March 2010


As Architects-in-Residence, both practitioners have responded to SUPERFRONT’s spatial identity at the gallery’s storefront location in Bed-Stuy, Brooklyn. Whether at the scale of the physical walls of the gallery or at the larger scale of central Brooklyn, the Architects-in-Residence present work in dialog with the gallery’s location on Atlantic Avenue.

The title of the exhibit, MAKING SPACE, alludes to the physical production that both practices share. As much of contemporary architectural experimentation occurs in the realm of the digital (computing space, ordering space, animating space), MAKING SPACE presents a surprisingly physical and hands-on selection of works. Both Architects-in-Residence work in physical media, where materiality can both record information and elude reproducibility.

Preview the catalog essay:

The MAKING SPACE exhibit and the Architects-in-Residence program are partly enabled by generous donations from Nilizandr Gilbert and Sarah Millsaps.




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