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Contents for August 31, 2010
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1. Nigel Rolfe, FF Alumn, at Green On Red Gallery, Dublin, Ireland, Sept. 24
2. Franc Palaia, FF Alumn, at the High Museum of Art, Atlanta, GA, thru Sept. 11
3. Ayana Hampton, FF Alumn, at The Pig and Whistle, Los Angeles, CA, Sept. 2, and more
4. Nicolas Dumit Estevez, Kathleen Pavlick, FF Alumns, at Lehman College Art Gallery, The Bronx, Sept. 21-Dec. 15
5. Dan Kwong, FF Alumn, at Baldwin Hills Scenic Overlook State Park, Culver City, CA, Sept. 11
6. Robbin Ami Silverberg, FF Alumn, at At Hoem Gallery, Samorin, Slovakia, Sept. 3- Oct. 24
7. Saya Woolfalk, FF Alumn, at Real Art Ways, Hartford, CT, opening Oct. 21, and more
8. Isabel Samaras, Saya Woolfalk, FF Alumns, at Rotofugi, Chicago, IL, thru Sept. 12
9. Holly Hughes, Carolee Schneemann, FF Alumn, at The New School, Manhattan, September 15 & 22
10. Bob Goldberg, FF Alumn, at Greenwood Cemetery, Brooklyn, October
11. Wooloo, FF Alumns, at Kunsthal Charlottenborg, Copenhagen, Denmark, Sept. 4-Nov. 21
12. Sonia Balassanian, FF Alumn, in Yerevan, Armenia, opening Sept. 2
13. Greely Myatt, FF Alumn, at Hunter College, Manhattan, opening Sept. 16
14. Michel Auder, FF Alumn, at Lunds Konsthall, Lund, Sweden, opening Sept. 17
15. Claes Oldenburg, Ed Ruscha, FF Alumn, at Office for Contemporary Art, Oslo, Norway, Sept. 15-Dec. 15
16. Ruth Hardinger, FF Alumn, at Collaborative Concepts on Saunders Farm, Garrison, NY, reception Sept. 4
17. Max Gimblett, FF Alumn, at Empty Hand Zen Center, New Rochelle, NY, Oct. 2
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1. Nigel Rolfe, FF Alumn, at Green On Red Gallery, Dublin, Ireland, Sept. 24

Nigel Rolfe will perform European Dream on Culture Night: Fri 24 Sep, at 7:30pm (sharp)
The Green On Red Gallery is delighted to announce an exhibition of new work by acclaimed artist Nigel Rolfe. European Dream is developed from a recent performance in London and is the starting point and title for the current body of work being launched in the gallery on September 1, 2010.

This will be a momentous exhibition, possibly the most significant in years not just because of the scale and ambition of the installation - and accompanying performance but also because of the directness and the weight of his subject. European Dream recalls a previously all-embracing and terrifying vision for Europe that haunts us still, particularly at a time when cohesion and unity in the region is challenged.

The artist’s body is the site for the narrative in the large projections that constitute the core of the exhibition. In keeping with other recent work resonant historical or natural sites have led to the artist physically and sometimes dangerously immersing himself in that place. The same is true of his recent visit to a site of mass death which led to European Dream. The artist writes: In between waking and sleeping, the nightmare of what happened in that place. The concrete and plaster stained with Prussian Blue like the pools of accumulated tears of those who died there. … At the very moment of the passing of human souls these stains were made to still today bear witness. A by product of the terrible process at work, for the blue of hydrogen cyanide is Prussian Blue. Now for a year or two this remote corner is brought within the extended European Dream, a union whose corner stone here is a dark and bloody ground.

Typically, Rolfe’s videos are shot with a daring economy and to exquisite effect that few in this medium can match. The reduction to one or two materials and gestures, this time with accompanying sound makes for all the more disturbing viewing. This exhibition has the effect of finding its way under the skin and leaving a deep impression.

On Culture Night, September 24, 2010, the artist will perform, once and for one night only, in the Green On Red Gallery the most amplified version of European Dream seen to-date. Booking will be essential.

For further information, please contact Jerome O Drisceoil or Mary Caffrey at tel. +353.1.6713414 or email at info@greenonredgallery.com.
The next exhibition at Green On Red Gallery is a solo show of new work by Dennis McNulty opening October 6, 2010.

Green On Red Gallery opening hours are as follows: Monday: By appointment
Tues – Friday: 10 – 6pm Saturday: 1 – 4pm, Sunday: Closed

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2. Franc Palaia, FF Alumn, at the High Museum of Art, Atlanta, GA, thru Sept. 11

Franc Palaia announces his inclusion in the exhibition, "Dali: The Passion for Film" at the High Museum of Art in Atlanta, Ga.
Franc Palaia's documentary film of Salvador Dali debuted at the High Museum of Art this month. The film documents Dali making his first and ground- breaking holographic movie in 1974 is included in ,"Dali: A Passion for Film", at the High Museum of Art from Aug.21 - Sept. 11, 2010. Feature films and shorts showcase Dali's fascination with cinema. The series celebrates Dali's influence on filmmakers from Walt Disney to Alfred Hitchcock. This series is presented in coordination with, "Salvador Dali: The Late Work" on display at the High Museum of Art from Aug 7.

Franc was an assistant prop man, documentary filmmaker and photographer during the historic 1974 NYC shoot. His original Super 8, seven minute silent short shows Dali and Gala posing on a 20 foot wide rotating platform, surrounded by surrealistic Dali-esque props as three 35 mm B&W film camera's record the "frozen action". This movie was later made into a holographic film and was presented at the Hologram Museum in Soho in the 1980s. Franc's unique film was debuted at the High Museum of Art this month. for more info contact Franc at FPalaia@earthlink.net and/or the High Museum at 404-733-4400. Curator of the series is Elliott King.

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3. Ayana Hampton, FF Alumn, at The Pig and Whistle, Los Angeles, CA, Sept. 2, and more

AYANA LIVE! Miss Ayana Hampton dishing stand-up comedy and cabaret weekly in Los Angeles.
Sept 2 in Hollywood at The Pig & Whistle, 9:30PM.
Sept 4 in West Hollywood at The Comedy Store 8PM.
For more please see www.missayanahampton.com or email ayanalive@gmail.com to get on the insider list.

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4. Nicolas Dumit Estevez, Kathleen Pavlick, FF Alumns, at Lehman College Art Gallery, The Bronx, Sept. 21-Dec. 15

Photographing Woodlawn
In collaboration with The Friends of The Woodlawn Cemetery
Sept. 21 - Dec. 15, 2010
Reception: Monday, October 18, 6-8
Gallery hours: 10-4, Tues.- Sat.

Photographing Woodlawn features the work of twenty-six artists whose photographs explore the sylvan landscapes and Gilded Age mausoleums of Woodlawn, one of America's most important cemeteries. Located on 400 acres in the northern Bronx, Woodlawn incorporates the work of some of the country's most accomplished architects, landscape designers, and artists. In this exhibition the photographers record the grounds and monuments using a range of techniques and styles - offering panoramic views, documentary images in high definition, sepia-toned landscapes, and performance-based photography. Photographers include:

Sol Aramendi & Nicolas Dumit Estevez, David Bady, Sarah Corbin, Michael Falco, Ellen Fisch, Ayakoh Furukawa, David Gillison & Robert Schneider, Ken Goebel, Kathleen Goncharov, Rachel Greene, Adam Karliner, Lawrence Lederman, Romeo Lombardi, Erin Danielle Malone, Jessica Marketta, Eileen McNamee, Ira Merritt, Christine Osinski, Kathleen Pavlick, Anna Purves, Ray Santiago, Christopher Smith, Richard Svinkin, and Lafiya Watson

www.lehman.edu/gallery

Lehman College Art Gallery, Bedford Park Boulevard West • Bronx, N.Y. 10468-1589 • 718-960-8731
Subway: Take the "4"or the "D" line to the Bedford Park Boulevard station. Walk west to the campus.

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5. Dan Kwong, FF Alumn, at Baldwin Hills Scenic Overlook State Park, Culver City, CA, Sept. 11

Music Video Release: B.Y.O. Chopstix - Changing Our Wasteful Ways

Los Angeles, CA – Multicultural arts organization Great Leap announces the premiere live screening and internet release of B.Y.O. CHOPSTIX, a new music video highlighting the environmental impact of disposable wooden chopsticks.

The ecological dilemma of disposable wooden chopsticks, or waribashi, was first brought to the attention of Great Leap Founder and Artistic Director Nobuko Miyamoto almost ten years ago, when she learned that over 100 billion waribashi find their way into the trash every year, consuming more than 30 million trees annually. Her response at the time was to start carrying her own chopsticks – a one-woman conservation effort which often drew laughs -- and occasionally, introspection.

Now that the idea of pursuing a "greener" lifestyle has gained wider public acceptance, Miyamoto was pushed to ask herself: "As an artist, what else can I do about addressing our waribashi habit?" Her answer was to write a song about it, teaming up with rapper Aidge of Aesthetics Crew and veteran performance artist Dan Kwong. Together with Great Leap friends, artists and community volunteers they’ve produced a funny-yet pointed-music video, B.Y.O. CHOPSTIX.

Director/Editor Kwong has combined music and humor to encourage people to take action by rejecting disposable wooden chopsticks and opting to "bring your own" instead.
B.Y.O. CHOPSTIX features Miyamoto as "The Ghost of Dead Chopsticks" and Aidge as an eco-savvy sushi chef. Danny Yamamoto, drummer for the group Hiroshima, makes a cameo appearance as a noodle cook (as well as playing taiko for the music track) and acclaimed solo performer Jude Narita also appears.

The video was shot at Azuma, a Japanese restaurant in Gardena. Its message inspired the owners to quit using disposable chopsticks made of wood and switch to bamboo, a more renewable material.

The YouTube release of B.Y.O. CHOPSTIX was August 23, with a live screening on September 11, 7pm as part of the culminating performance of Great Leap’s Collaboratory Artist Mentorship Program, also directed by Kwong, presented at Baldwin Hills Scenic Overlook State Park.

Kwong and Miyamoto are hopeful that B.Y.O. CHOPSTIX will raise awareness about this issue and remind people that "small everyday choices are part of making a big difference." Great Leap will offer reusable chopsticks for sale at the premiere and on the website. In the words of B.Y.O. Chopstix, "Get a portable pair!"

Founded in 1978, Great Leap, Inc. is a Los Angeles-based multicultural arts organization that uses art as both performance and creative practice to deepen relations between diverse communities and transform how we live on the earth.

To view the video: http://www.youtube.com/watch?v=N0jU2QE31QA
What: Music video Premiere Screening & Internet Release
When: September 11, 2010 7:00PM
Where: Baldwin Hills Scenic Overlook State Park, 6300 Hetzler Road, Culver City 90232
Tickets: $15 (213) 250-8800

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6. Robbin Ami Silverberg, FF Alumn, at At Hoem Gallery, Samorin, Slovakia, Sept. 3- Oct. 24

Robbin Ami Silverberg's installation: "Nothing Is until Uttered in a Clear Voice"
( a series of paper postings along with a film and sound piece - by R. Silverberg & A. Hembree)

& András Böröcz's installation: "Yad"
(16 wooden mobiles)

will be at the "At Home Gallery" Synagogue, in Samorin, Slovakia Sept. 3, 2010 - Oct. 24, 2010

Opening event will include music by Tibor Szemzö This work was made possible by the US Embassy, Bratislava.

For more information: athome@stonline.sk, www.athomegallery.org

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7. Saya Woolfalk, FF Alumn, at Real Art Ways, Hartford, CT, opening Oct. 21, and more

The Institute of Empathy @ Real Art Ways, Hartford, CT
Curated by Kristina Newman Scott

Opening reception: Saturday, October 23, 6 - 8 pm
October 21, 2010 - March 20, 2011
Artist talk: February 10, 2011 5 PM

http://www.realartways.org/visualarts.htm#woolfalk

Group Exhibitions:

Threads @ EK Projects, Beijing, China
Curated by Lowery Stokes Sims

Rashawn Griffin, Whitfield Lovell, Senga Nengudi, Shinique Smith and Saya Woolfalk.

September 18 – December 18, 2010
www.elikleinfineart.com

and

The Sitting Room: Four Studies @ Philadelphia Art Alliance, PA
Ligia Bouton, Saya Woolfalk, Jennifer Angus and Carole Loeffler

September 24th, 2010 to January 3rd, 2011
http://www.philartalliance.org/

PS: Please respond to sayawoolfalk@mac.com.
www.sayawoolfalk.com

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8. Isabel Samaras, Saya Woolfalk, FF Alumns, at Rotofugi, Chicago, IL, thru Sept. 12

Playboy Redux @ Rotofugi, Chicago, IL
Contemporary Artists Interpret the Iconic Playboy Bunny

August 27 - September 12, 2010
http://rotofugi.com/gallery/artists/playboyredux2010.asp

Exhibit Information
Playboy Redux
Contemporary Artists Interpret the Iconic Playboy Bunny
August 27 - September 12, 2010
Opening Reception
Friday, August 27, 2010, 7-10PM
At our new gallery location: 2780 N Lincoln Ave, Chicago

About The Exhibit
Playboy Enterprises in collaboration with The Warhol Museum (Pittsburgh) invited over 20 contemporary and street artists to reinterpret the iconic Playboy Bunny in celebration of the opening of the first Playboy Club in Chicago 50 years ago in 1960. Known at that time for her satin bunny suit, cotton tail and rabbit ears, the Playboy Bunny served cocktails and glamour in equal doses. Many luminaries once worked as Bunnies, including Deborah Harry, Gloria Steinem and Lauren Hutton. For Playboy Redux: Contemporary Artists Interpret the Iconic Playboy Bunny, artists were asked to create a new look for the Bunny, a veritable makeover to create the Bunny of the future. The selected artists have presented a number of new takes on this iconic image, and works ranges range in medium including photography, painting, sculpture, drawing and video.

Playboy Redux was originally shown at The Warhol Museum in March-June, 2010. Rotofugi Gallery is proud to now exhibit and sell these works along with some new additions.
This project is part of Playboy's year-long 50th Anniversary celebration of the Playboy Club and Playboy Bunny. The exhibit is curated by Aaron Baker, Ned West and Rotofugi Gallery.
Participating Artists
Featuring Josh ‘Shag’ Agle, Jennybird Alcantara, Scott Anderson, Glenn Barr, Gary Baseman, Tim Biskup, R. Black, Ain Cocke, Brian Ewing, Brendan Fernandes, Rod Filbrandt, Jeremy Fish, Mike Giant, Ludovica Gioscia, Ken Keirns, Jeremiah Ketner, Jeremy Kost, Frank Kozik, Travis Lampe, Bob Masse, Tara McPherson, Hiroki Otsuka, Lisa Petrucci, Mark ‘Atomos’ Pilon, Bonni Reid, Isabel Samaras, Seth Scriver, Andrew Schoultz, Steve Seeley, Jeremy Tinder, Michelle Valigura, Saya Woolfalk and O Zhang.

PLAYBOY, BUNNY and Rabbit Head Design are all marks of Playboy, ©2010 Playboy.

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9. Holly Hughes, Richard Prince, Carolee Schneemann, Martha Wilson, FF Alumns, at The New School, Manhattan, Sept. 15 & 22

Hi Friends,

The National Coalition Against Censorship (NCAC), the Vera List Center for Art and Politics at The New School (VLC) and the BFA Visual and Critical Studies Department at the School of Visual Arts (SVA) invite you to attend panel discussions, film screenings and event-specific videos centered on censorship and arts funding. The program is occasioned by the 20th anniversary of the Congressional decision to require the National Endowment for the Arts (NEA) to consider "general standards of decency and respect" in awarding grants.

All events are FREE ADMISSION.

Panels on Art & Censorship with Bill Ivey, Beka Economopoulos, Nato Thompson, Martha Wilson, Wafaa Bilal, Holly Hughes, Trevor Paglen, Carolee Schneemann, and others. Laura Flanders of GritTV moderates.

Wednesday, September 15 & 22, 2010 from 6:30 to 8:30 p.m.
The New School, Tishman Auditorium, 66 West 12 Street, New York, 10011

Film Screening (double bill) - Destricted (2006), produced by Neville Wakefield featuring shorts by artists Matthew Barney, Cecily Brown, Marco Brambilla, Richard Prince, Sam Taylor-Wood, and others, which explore the boundaries between art and pornography; and Ken Park (2002) by Larry Clark, with discussion by artists.

Monday, September 27, 2010 - 6:30 p.m.
School of Visual Arts, SVA Theatre, 333 West 23 Street, New York, 10011

Please join us and RSVP to the invitation below!
Hope to see you there,
Teresa Koberstein
National Coalition Against Censorship

ps. For those of you who are unable to attend or are out of the NYC area, stay tuned for information about our online video series surrounding the program, and for posted video footage of the panels after the events.

RSVP: http://ncac.eventbrite.com/?s=2021197

For More Information: How Obscene Is This: The Decency Clause Turns 20

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10. Bob Goldberg, FF Alumn, at Greenwood Cemetery, Brooklyn, October

This October 9, "Angels and Accordions" will take place for the 7th (and maybe last) time - with a cast of over 30 dancers and 11 accordionists, this award-winning performance has introduced thousands to the beauty and history of Green-wood Cemetery, and has brought together audiences and performers for some unforgettable experiences.

We need your help to make it happen. If you have it in your heart and your wallet to spare a few bucks, your generosity will be deeply appreciated. Follow the link below:

http://www.kickstarter.com/projects/248663823/angels-and-accordions-a-
site-specific-production-g?pos=1&ref=search

About this project:

A cast of thirty angels, mysterious and serene, multiply and re- materialize throughout Green-Wood Cemetery’s beautiful rolling hills.
Music from a nearby accordionist floats through, while audience
members- a thousand deep- find themselves interacting with their surroundings in a new way.

Your pulse slows; your eyes start to catch things you didn't know they could; this City of the Dead, for just a moment, brings the unexpected to life. This is the magic, quiet and sometimes strange, of "Angels & Accordions."

For the past five years, audiences have flocked to Green-Wood each October to experience this living magic, as created & choreographed by Martha Bowers.

A final farewell performance of this beloved Brooklyn tradition was scheduled this year, October 9th, but without you it may not happen.
The recession's cracking down, and we need your help!

Keep innovative art alive in NYC. Bring Angels back, the way it was meant to be seen: with the full cast, new tableaux vivants & choreography, and the full original score by composers Bob Goldberg & "trailblazing virtuoso," Guy Klucevsek (Wall Street Journal).

Carving a space for reflection in a busy city, Angels & Accordions is truly a unique cultural event in the New York City landscape.

And if 10,000+ audience members couldn't be trusted, how about this?
"Angels" was just honored- this July- with a Municipal Arts Society Award. Time Out Inc. President, Allison Tocci, nominated the event, noting the thousands of events that come across her desk every year and calling the piece her "President's Pick."


www.dtetc.org/aa.html

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11. Wooloo, FF Alumns, at Kunsthal Charlottenborg, Copenhagen, Denmark, Sept. 4-Nov. 21

Make Yourself at Home
4 September – 21 November 2010

Kunsthal Charlottenborg
Nyhavn 2
DK-1051
København K
Denmark
www.kunsthalcharlottenborg.dk

Artists: A Kassen, Philip Aguirre y Otegui, Kader Attia, Kenneth A. Balfelt, Olaf Breuning, Mie Mørkeberg, Otobong Nkanga, George Osodi, Pascale Marthine Tayou and Wooloo

Curators: Charlotte Bagger Brandt and Koyo Kouoh

Part of My World IMAGES, a festival organised by the Danish Center for Culture and Development (DCCD)

The exhibition Make Yourself at Home features ten artists and artists' groups from around the world, all of whom present works that address the notion of hospitality. The contemporary world is characterised by the constant movement and displacement of people, but also by the increased unwillingness of countries to welcome migrants. Make Yourself at Home looks at how artists interpret the concepts of home and hospitality in a globalised world, and includes works – many made especially for the occasion – that explore issues of hospitality at the individual, institutional or national level, and which touch on themes of human migration, colonial heritage and international conflict.

Denmark has always prided itself on its ideal of 'hygge' ('cosy living'), but it also reflects the changes in international relations in the wake of 9/11, which have undermined the perception of the safety of the home, and have made countries less open to receive foreign guests. The ambiguity and unease that can underlie the ideals of home and hospitality have long been analysed by thinkers, and Derrida describes the expression 'make yourself at home' as a self-limiting invitation: please feel at home, but remember that this is not your place and that you should respect my rules. The complex and sometimes double-edged nature of hospitality informs all of the works in Make Yourself at Home.

One of the most common gestures of hospitality is the act of sharing food with others, and this is evoked in Endless Döner, a work by Danish artists' group A Kassen. The piece is situated in Runddelens Kebab, one of the many kebab shops that can be found in the Nørrebro district of Copenhagen, and consists of a kebab loaf in the shape of Endless Column, the celebrated Brancusi sculpture. The piece was inspired by Brancusi's own sources – Romanian folk art – and returns the modernist artist's work to its popular roots. A Kassen are also represented by a new piece which intervenes into the architecture of Kunsthal Charlottenborg: the artists have removed some of the glass panels which normally screen the attic from the galleries, thereby allowing the visitor to see parts of the house that are normally hidden.

The Belgian artist Philip Aguirre y Otegui has always had an interest in migration. The artist was born of a father who fled the Franco regime, and has himself travelled extensively in Latin America and Africa. One of his works at Kunsthal Charlottenborg is Cambiamos el Mundo ('Let's change the world'), a wall painting which shows a dinner party in full swing, and which is both an homage to hospitality and a satire on evenings spent changing the world over a bottle of wine. The artist is also represented by a number of sculptural pieces, including three different works depicting life-size figures carrying a mattress, water jugs and plates respectively. These works suggest the artist's interest in basic human needs, as well as in the mechanics of displacement and dislocation.

The piece Untitled (Ghardaia), by the French-Algerian artist Kadia Attia, is an installation of couscous moulded into the shape of a city. The architecture is reminiscent of a traditional building type found in the Mzab valley in the Algerian desert, a style which had a major influence on Le Corbusier, who visited the region in the 1930s and who was inspired by its airy and hospitable buildings. The Swiss architect's theories of social housing went on to inform buildings around the world, including schemes built by the French in Algeria in the years before independence. Attia's reconstruction of this architecture using the North African staple of couscous – a highly unstable material – is a subtle gesture of reappropriation.

The Danish artist Kenneth A. Balfelt creates what he calls 'functional art', works in which art is used to develop new situations in society, and which have often involved people at the social margins including the homeless and drug addicts. For this exhibition Balfelt has worked on facilities for socially vulnerable people in Enghave plads, a square in the Vesterbro district of Copenhagen. In collaboration with the 'beer drinkers' in the square - and with the help of local organisations - he is creating a space which the former can share with so-called 'normal' people. The work is an ongoing investigation, and will result in a public space equipped with furniture and facilities that can be used 24/7.

Another approach to hospitality is visible in the video Home 2, in which the Swiss artist Olaf Breuning depicts the world tour of a traveller from the West, taking in Japan, Papua New Guinea and Ghana. The traveller makes absurd efforts to become the 'other' that he meets, in a satire on the western romantic look at non-western societies. Breuning is also represented in the exhibition by sculptural works, including The Humans, a group of six large figurative sculptures in marble and bronze that are displayed in the courtyard, and which represent a satirical account of evolution and primitive life. Breuning often uses a playful perspective to portray his subjects, yet behind it lies a web of social analysis and multiple narratives.

In the paintings of Danish artist Mie Mørkeberg the domestic sphere becomes a stage for uncanny psychological experiences. Home is staged as a Biedermeier set, and evokes feeling of uncertainty or fear. The starting-point for the new wall painting that the artist has made at Kunsthal Charlottenborg is an ordinary living room with old-fashioned furniture and bric-a-brac, but one which contains traces of other worlds. Any place acquires an identity through performative actions, and in the case of Mørkeberg the imperative to escape becomes the beginning of something new.

Notions of hospitality are usually associated with people, while material objects are left out, but the Nigerian artist Otobong Nkanga has a sharp focus on the materiality of life. The Taste of a Stone, which Nkanga has made for the exhibition, is a work in a number of chapters. The first chapter centres on a curious stone, and operates as an introduction, while also suggesting the particular hospitality of places of worship. The other chapters are represented in five short videos which tell different stories connected with the stone: stories of love, rejection, fear, submission and dependence. These videos are presented on monitors scattered within an architectural installation made from wood, glass and marble, a structure which functions like a brain – a container of memories.

Nigerian photographer George Osodi was invited to stay with three different families in Denmark, who opened their doors as part of the hospitality network New Life Copenhagen. The latter was created by the art collective Wooloo to host activists during the UN Climate Summit in Copenhagen in 2009, and is now an ongoing project. During his stay Osodi made a photo essay documenting the life of the families that housed him, a work that is realised as three slide projections. It is still in question whether the artist himself will be allowed to enter the country a second time for the installation of his work at Kunsthal Charlottenborg, due to new restrict visa rules implied on people with African background.

The Cameroonian artist Pascale Marthine Tayou has created a new piece for the exhibition, entitled Home Sweet Home. The work is made up bird houses tied together, and sits on wooden columns like a fisherman's home. On the ground the artist has placed a large group of readymade statues from West African, depicting black figures in the dress of 'modern' types such as lawyers and businessman. These statues colons ('coloniser statues') go back to the early C20th, when the most common figure was a white colonial agent in pith helmet. The installation is a sound piece in disguise, as the birdcages give out the calls of a variety of local and exotic birds – which the artist describes as the sounds of freedom.

PRESS PREVIEW
Friday 3 September 11am-2pm

CURATORS
The exhibition has been curated by Charlotte Bagger Brandt (Raaderum – Office for Contemporary Art, Denmark) and Koyo Kouoh (Raw Material Company, Senegal).

OFF-SITE WORKS
Endless Döner by A Kassen can be seen at Runddelens Kebab, Nørrebrogade 108, 2200 København N, on Saturday 18 September and Saturday 16 October between, 12.00 – 17.00.

A Place for All by Kenneth A. Balfelt is situated on Enghave Plads, 1670 Vesterbro, entrance from Enghavevej. Open for the public from 3 September. The work will remain at the square fort he next 7 years.

EVENTS
Make Yourself at Home is accompanied by a range of special events. The programme includes a variety of films screenings and performances that coincide with the My World Images festival (3 - 12 September), including a film programme in the Mezzanine curated by CPH:DOX. Other events include a discussion on the themes of the exhibition, on 8 September, organised by Raaderum – Office for Contemporary Art. Kunsthal Charlottenborg is also hosting a number of other events this Autumn, including concerts as part of Music & Art Around (6-31 October); and is participating in Night of Culture (15 October). See separate press release.

CATALOGUE
Texts by Charlotte Bagger Brandt, Koyo Kouoh, Jacob Alsted, Oumar Ndao and Wambui Mwangi. 144 pages. Designed by Rasmus Koch Studio.

SUPPORTERS
The exhibition has been generously supported by the Danish Center for Culture and Development (DCCD), and by the Danish International Visiting Artists Exchange Programme (DIVA), Culturesfrance, Institut francais, Sølyst Artist in Residency Centre (SAIR) and Pro Helvetia.

PARTNERS
Make Yourself at Home is a partnership between Kunsthal Charlottenborg and DCCD (Danish Centre for Culture and Development), and forms part of the latter's My World Images festival. The other partners are CPH:DOX, Kopenhagen Contemporary, Golden Days, Music & Art Around.

PRESS CONTACT
For press images see www.kunsthalcharlottenborg.dk/presse
For further press information contact Helle Bøgelund (Tel 33 36 90 42, Cell 28 15 95 43, Email helleh@kunsthalcharlottenborg.dk)

OPENING HOURS
Open Tuesday to Friday 12.00 -20.00, Saturday and Sunday 12.00 - 17.00.
Special late night opening on October 15, until 24.00 (Night of Culture).

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12. Sonia Balassanian, FF Alumn, in Yerevan, Armenia, opening Sept. 2

Jean and Albert Boghossian Center for Contemporary Experimental Art
Place: NPAK/ACCEA
1/3 Pavstos Biuzand Blv. (South side of Vernissage)
Yerevan, Armenia
Exhibition will continue until September 30, 2010
Viewing Tuesday through Friday: 11:00-17:00 hours
Saturdays: 11:00-15:00 hours

ACCEA/NPAK is a not-for-profit; Non-Governmental Organization registered in Armenia and the U.S.A. Contributions to ACCEA are tax-deductible to the extent permitted by law. ACCEA/NPAK is dedicated to development and promotion of Armenian contemporary art.

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13. Greely Myatt, FF Alumn, at Hunter College, Manhattan, opening Sept. 16

Americanana
curated by Katy Siegel

September 16 – December 4, 2010
The Bertha & Karl Leubsdorf Art Gallery at Hunter College

Opening reception: Thursday, September 16, 6-8 pm

Americanana brings together work by artists as different as Jasper Johns, H.C. Westermann, and Kara Walker that engages American creative traditions, revealing changing artistic and social attitudes towards the American past.

While many twentieth century American artists sought to overcome what they saw as provincial attitudes to art, looking to European modernism as their model, others deliberately referenced the "usable past"—from sign painting to wood carving—of pre-industrial, pre-Civil War America, even if they did so with ambivalence rather than nationalist boosterism. Artists have been particularly sensitive to the aesthetics of Americana, and the collections of artists like Charles Sheeler, Walker Evans, Elie Nadelman, and Yasuo Kuniyoshi (not to mention Andy Warhol and Allen Ruppersberg) influenced their own artistic production as well as the collecting of museums such as the Whitney and MoMA.

Revivals of this "real America" have occurred again and again, for countless reasons, in history as well as art. Recently, the distant past has been highly visible in contemporary art and culture as the identity and even survival of the United States amidst globalism has surfaced as a larger issue. This exhibition will feature art works from the 1960s through the present that reference American subjects and, even more, American traditions of direct making. Some of the artists, such as Donald Judd and James Turrell, made useful objects like furniture and ceramics as well as art; other artists, such as Faith Ringgold, Melvin Edwards, Elaine Reichek, and Greely Myatt, build on craft traditions like quilting and metal work. Josephine Halvorson, the youngest artist in Americanana, makes exquisite paintings in harmony with the plain aesthetics of Shaker objects.

Artists featured in this exhibition include: Melvin Edwards, Robert Gober, Josephine Halvorson, Phillip Hefferton, Jasper Johns, Donald Judd, Allan McCollum, Greely Myatt, Elaine Reichek, Faith Ringgold, James Turrell, Kara Walker, and H.C. Westermann.

The exhibition is supported by the Foundation-to-Life, Inc. Additional funding is provided by the Bershad Exhibition Fund at Hunter College. The accompanying publication is made possible by Agnes Gund.

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14. Michel Auder, FF Alumn, at Lunds Konsthall, Lund, Sweden, opening Sept. 17

Michel Auder. The World Out of My Hands
18 September – 14 November 2010

Opening:
Friday, 17 September, 6–8pm

Lunds konsthall
Mårtenstorget 3
SE-223 51 Lund, Sweden
tel. +46 46 355295
lundskonsthall@lund.se
www.lundskonsthall.se

Michel Auder was born in France in 1944, but he has been living and working in New York since the late 1960s. His oeuvre, both incisive and generous, is now assuming its rightful place in an updated overview of recent art history, thanks to a series of ambitious solo exhibitions and participations in biennials or other larger-scale events.

For more than 40 years, since he bought his first portable video camera in 1969, Michel Auder has been recording, reviewing and releasing electronic footage. The terms 'chronicle', 'portrait' and 'voyage', which he himself uses, capture important aspects of the work. A chronicler knows that he is authoring a particular version of history and that he is not necessarily a reliable source. A good portrait is more than just a record of someone's distinctive features; it is the result of a process of subjectivation requiring the participation of both artist and model. A voyage, finally, is not always defined by geographic distance or physical displacement.

The World Out of My Hands is the title of a video installation from 2008, a torrent of vision and sound arranged as a non-linear narrative flow. It has been chosen as the title for Michel Auder's substantial solo exhibition at Lunds konsthall, which comprises some 20 works from the period 1971–2010. The reference to 'hands-on' subjectivity is only seemingly paradoxical. When we immerse ourselves in Auder's films, we begin to sense that he and the video camera have grown together to form a 'partial observer' as in experimental particle physics: a new force that perceives and experiences but can no longer be clearly attributed to either the machine or the man who operates it.

Michel Auder's sensibilities are not abstract or high-minded. He is perhaps best known as a chronicler and portraitist of the artistic circles around Andy Warhol's Factory in New York in the 1970s. Much of the enormous amount of video footage that he has amassed, several thousand hours all in all, is too sexually or emotionally explicit to be released, he says. In the material that he does release, we often have the impression of watching his own life taking shape as if on an open stage. This only highlights how important selecting and editing is for him. One prime example is The Feature (2007, 180', co-directed with Andrew Neel), a three-hours-long account of Auder's life through selected sequences of earlier films, with a fictional narrative frame. It is shown in collaboration with the Kino cinema theatre in Lund.

It is worth noticing several different approaches to editing in Auder's work. In the 1980s he made a series of works using re-filmed images from television, cut and reshuffled with nearly obsessive attention to detail. TV America (1986, 22') represents this body of work in the exhibition. Voyage to the Centre of Phone Lines (1993, 53') is composed of innocuous seaside views and intercepted, uncensored anonymous telephone conversations that are both intimate and universal. Seduction of Patrick (1979, 28') indicates another approach to video, where the medium is used to formalise and preserve semi-improvised, collectively authored drama. Since the mid-1990s Auder has been releasing longer and shorter sequences from his immense archive. Chronicles. Chelsea Girls with Andy Warhol 1971–1976 (released 1994, 73') and Portrait of Alice Neel 1976–1982 (released 1999, 120') are two well-known example of this genre. Along with three other films, they have been subtitled by Lunds konsthall to enhance the understanding of occasionally indistinct soundtracks. The travelogues are important for Auder, demonstrating his command of the extended time-format and represented here by A Personal Narrative of Travels to Bolivia (1997/2010, 11 hours, installation variable, here shown on 11 plasma screens) and Vanuatu Chronicles (1998/2010, 277', installation variable, here shown on 6 plasma screens). Video images are sometimes compiled into works without narrative sound but with strong visual impact, such as Shopping Heads (1989/2009, 2') or Heads of the Town (various years/2009, 13'). A recently developed sub-category of such non-verbal montage deploys a more decidedly audio-visual poetics. The World Out of My Hands (2008, 42') is one such piece. Narcolepsy (2010, 22') is another, shown as an installation with five partly overlapping projections.

Michel Auder has often been seen capturing other people's actions and reactions, enticing them to behave differently than if their words and gestures had not been translated into footage. But it would be unfair to call him a voyeur. He is always part of the situation, emotionally present and compassionate. He does not register life around him coolly and detachedly. He does not exoticise or alienate. Neither is he narcissistic, although he does not avoid directing his camera at himself. Michel Auder is good company. His work gives us room and reason to reflect. It is a precision instrument for observing life and for thinking through – perhaps even coming to terms with – the passage of time.

Michel Auder is represented by Newman Popiashvili Gallery in New York, Aurel Scheibler in Berlin and Galleria Fonti in Naples. All his videos and photographs are offered in editions of 5.

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15. Claes Oldenburg, Ed Ruscha, FF Alumn, at Office for Contemporary Art, Oslo, Norway, Sept. 15-Dec. 15

'BIG SIGN – LITTLE BUILDING'
A selection of slides from the lectures of Steven Izenour from the archive of Venturi, Scott Brown & Associates with works by Allan D'Arcangelo, Claes Oldenburg, Charlotte Posenenske, Ed Ruscha, Robert Smithson, Jeff Wall

15 September – 15 December 2010

Office for Contemporary Art Norway
Nedre gate 7
0551 Oslo, Norway
www.oca.no

Curated by Marta Kuzma

Imagine a development: huge highway billboards with massive photo blowups of landscape not unlike the landscape unwinding all around the billboard itself – this massive artificial analogue for the highway only on the highway.

— Jeff Wall, Landscape Manual, 1969–70

Learning from the existing landscape is a way of being revolutionary for an architect. Not the obvious way, which is to tear down Paris and to begin again, as Le Corbusier suggested in the 1920s, but another, more tolerant way; that is to question how we look at things.

— Robert Venturi, Denise Scott Brown and Steven Izenour, Learning from Las Vegas, 1968

The things I make are variable, as simple as possible, reproducible. They are components of a space, since they are like building elements, they can always be rearranged into new combinations or positions, thus, they alter space.

— Charlotte Posenenske, statement in Art International, 1968

The Office for Contemporary Art Norway presents 'BIG SIGN – LITTLE BUILDING', an exhibition that looks at the expanded temporal and spatial field for cultural production resulting from the modern shift in the notion of landscape from the Kantian sublime to the space of leisure time. This enquiry was pursued by the radical artists and architects who throughout the 1960s and into the 70s explored how the aesthetic experience of nature within modernity arrived at the perception of the expressiveness of nature through the expressiveness in things. In doing so, their respective investigations reflected upon the loss of faith in natural beauty and evolved into an aesthetic experience of landscape as one no longer located within the 'towering mountains eloquent in what they crush overwhelmingly', but instead as projections of space liberated beyond the proliferation of artificial things.

The exhibition departs from and extends beyond a seminal project developed by the architects Robert Venturi, Denise Scott Brown and Steven Izenour, who, in their book Learning from Las Vegas (1972), drew from existing critiques of urban space at the time to explore the role that signs played in providing order to the landscape. As an articulation of a space contesting the hegemony of Euclidean space, this approach also intrigued artists such as Charlotte Posenenske, Ed Ruscha, Robert Smithson, and Jeff Wall, who further challenged such traditional notions of space in order to explore new interpretations of landscape within the fields of aesthetics, art and architecture without succumbing to any one category. Other artists, such as Claes Oldenburg and Allan D'Arcangelo, cited as inspiration by the three architects, contested the sign system altogether, which increasingly reflected an attempt on the part of capital to claim nature, landscape, and public space as commodities.

'BIG SIGN – LITTLE BUILDING' exhibits, for the first time, the original glass lantern slides used by Steven Izenour for his academic lectures together with works by artists who transformed drafts, surveys, maps, and manuals into cultural artifacts, creating a new genre for cultural production at the time. The exhibition integrates artists' work, archival materials and publications that revised interpretations of landscape, building and monument reflecting upon how artists and architects attempted to dislocate traditional interpretations of these concepts in an effort to generate a critical dialogue around the effects of power inscribed in public information generated by the city and by the hierarchies, standardisations, and space-time relationships effected by corporate development.

'BIG SIGN – LITTLE BUILDING', curated by OCA's Director Marta Kuzma, is dedicated to the memory of Steven Izenour and made possible by the generous efforts of John Izenour and loans of work from Venturi, Scott Brown & Associates, John Izenour, Claes Oldenburg, Jeff Wall, Estate of Allan D'Arcangelo, the Estate of Charlotte Posenenske, Nicole Verstraeten-Daled, Frank Mosvold and Sørlandets Kunstmuseum, Nasjonalmuseet for Kunst, Arkitektur og Design, and Barney & Astrid Rosset. The exhibition will be accompanied by a publication printed by the time of the exhibition closing.

For press inquiries and more information, please contact Marthe Tveitan at marthe@oca.no.

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16. Ruth Hardinger, FF Alumn, at Collaborative Concepts on Saunders Farm, Garrison, NY, reception Sept. 4
Dear friends,
If you are in the area, please stop by to see my work at
Collaborative Concepts on Saunders Farm
853 Old Albany Post Road
Garrison NY 10524
Reception for the artists: Saturday, Sept. 4
2-6 PM
The exhibition includes outdoor installations by approximately 40 artists

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17. Max Gimblett, FF Alumn, at Empty Hand Zen Center, New Rochelle, NY, Oct. 2

Sweetcake Enso Reception
Saturday, October 2, 4:00pm
Empty Hand Zen Center

My teacher, Susan Ji-on Postal, and I welcome you to come to the reception of the inaugural Sweetcake Enso exhibit at the Empty Hand Zen Center in New Rochelle. This will be an opportunity to meet local sangha artists and each other, and to discuss what the potential of these exhibits might be for local Zen communities and wider sangha. For those of you will be unable to join us, let this invitation be your inclusion in the event!

As part of a two day Arts Fest sponsored by the New Rochelle Council of the Arts our doors will be open from noon until 5:00 on both Saturday and Sunday.

Weekly essays will begin in September on the Sweetcake Enso website, and I will forward the first of these to you.

With palms together,
Catherine Seigen Spaeth

Sweetcake Enso, Catherine Spaeth, curator
catherine.spaeth@gmail.com

Empty Hand Zen Center, 45 Lawton, New Rochelle, NY 10801
(914) 636-1450
susanjion@aol.com

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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
http://www.franklinfurnace.org
mail@franklinfurnace.org

Martha Wilson, Founding Director
Mary Haberle, Digital Specialist
Michael Katchen, Senior Archivist
Jenny Korns, Webmaster
Harley Spiller, Administrator
Eben Shapiro, Program Coordinator
Judith L. Woodward, Financial Manager