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Contents for December 20, 2010
1. Zlatko Kopljar, FF Alumn, received "Bibel und Kultur" Prize 2011-12
2. Linda Stein, FF Member, at Smith College, Northampton, MA
3. Nam June Paik, FF Alumn, at Tate Liverpool, UK, thru March 13, 2011, and more
4. Roberta Allen, FF Alumn, in Guernica Magazine, now online, and more
5. Sanja Ivekovic, FF Alumn, at Galerija Nova, Zagreb, Croatia, thru Jan 31, 2011
6. The Aaron Burr Society, FF Alumns, at Max Fish Bar, Manhattan, Dec. 21
7. RENO, FF Alumn, at Dixon Place, Manhattan, Dec. 21
8. Nora York, FF Alumn, at The Public Theater, Manhattan, Jan. 11-15, 2011
9. AA Bronson, FF Alumn, in The New York Times, Dec. 20
10. Pope.L, Harley Spiller, FF Alumns, in The Wall Street Journal, Dec. 16

1. Zlatko Kopljar, FF Alumn, received "Bibel und Kultur" Prize 2011-12

Stiftung Bibel und Kultur, Postfach 81 0340 70520 Stuttgart, Germany

German Ecumenical Foundation "Bibel und Kultur" has decided to award Zlatko Kopljar with its annual prize for 2011/2012. The prize is worth 10000 Euro and will be given during a ceremony. Foundation "Bibel und Kultur" was founded in 1987 by people working in the cultural and political scenes, church people were also involved. Representatives from every Christian church and the Jewish Conference in Germany are sent into the committee.

Award winners since 1988 have been La. Shalom Ben Chofin, Krystof Kieslowski, John Neumeier, Patrick Roth, Sofia Gubaidulina, Gustav Kluge, John Zorn, Neo Rauch.



2. Linda Stein, FF Member, at Smith College, Northampton, MA

Linda Stein News Release from Smith College, Northampton, MA:

"Wonder Woman 632" –An intriguing installation by New York artist Linda Stein (http://www.lindastein.com/) is now sited in Neilson Library's Mair Room. The larger-than-life sculpture, collaged with archivally modified and acrylicized Wonder Woman comics, includes a WW wall shadow. You may recall Stein as the feminist duped into being in film "Borat." (http://www.lindastein.com/home/BoratBBC.pdf) This art installation is a gift to the Sophia Smith Collection by feminist icon Gloria Steinem. Both Stein and Steinem's papers are preserved in the SSC. (http://www.smith.edu/libraries/libs/ssc/visit.html)



3. Nam June Paik, FF Alumn, at Tate Liverpool, UK, thru March 13, 2011, and more

Nam June Paik
17 December 2010 – 13 March 2011

Tate Liverpool
Albert Dock
Liverpool, L3 4BB, UK
+ 44 (0) 151 702 7400

FACT (Foundation for Art and Creative Technology)
88 Wood Street
Liverpool, L1 4DQ
+44 (0)151 707 4464

Media artist, performance artist, composer and visionary, Nam June Paik (1932–2006) was one of the most innovative artists of the twentieth century. Paik's radical ideas on art and technology transformed what we now understand as video and media art. Renowned for his spectacular video installations and manipulated images of avant-garde performances, pop singers and television commercials, Paik paved the way for the sensibility of the MTV generation and YouTube phenomenon.

Tate Liverpool presents the first major retrospective since the artist's death with museum kunst palast, Düsseldorf. The exhibition in Liverpool is the first UK exhibition of Paik's work since 1988, and is presented in collaboration with FACT, Foundation for Art and Creative Technology.

At Tate Liverpool, the first part of this dual-venue exhibition showcases around ninety works from all phases of Paik's career, many shown in the UK for the first time, alongside documentary materials from his performances and early exhibitions. The show celebrates Paik as the pioneer of media art. At a time when television was still a novelty, Paik foresaw the future popularity of this new and exciting medium. Thought-provoking works such as TV Buddha series explore cultural clashes between East and West, old and new, while Video Fish 1979-92, which features live fish alongside television sets, juxtaposes the natural and the technological.

Ranging from his early music performances and his involvement in the Fluxus movement to TV works, robot sculptures and large-scale video installations, Tate Liverpool's exhibition takes a definitive look at Paik's oeuvre. Prepared Piano 1962-63 and Record Shishkebab (Random Access) 1963-79 demonstrate Paik's close relationship with avant-garde music movements, while works like Magnet TV 1965 and One Candle 1989 show the diverse trajectory of his electronic experiments. Paik's collaborations with cellist Charlotte Moorman and artist Joseph Beuys are also prominently presented in the exhibition, with a rich selection of photographs and ephemera related to their performances and exhibitions.

Paik continuously questioned existing notions of art and creativity, and tirelessly explored new and revolutionary ways of creating and appreciating art in a wider culture. Informed by profound knowledge and insight from Zen Buddhism to cybernetics theory, Paik created a uniquely non-hierarchical and inclusive vision of artistic creativity, and opened up the realm of art to the ever-changing world of cultural and technological innovations. Paik's strong interests and involvements in electronic art and avant-garde movements can be found throughout the exhibition, representing all aspects of his experimental spirit that traverses his prolific career.

The exhibition continues at FACT. Focusing on Paik's innovative use of technology, FACT showcase the major installation Laser Cone 2001-10, alongside sixteen single-channel video works, including Global Groove 1973 and groundbreaking satellite videos Good Morning, Mr. Orwell 1984 and Bye Bye Kipling 1986. Paik's fascination with television stemmed from his idea of communication as a participatory 'two-way' system. In contrast with a widely accepted view of television at the time as an inherently voyeuristic medium, Paik focused on its democratic possibility of actively involving the public in the production of its contents. For Paik, communication across the globe was one of the most significant impetuses for deeper understanding of different cultures and societies, and eventually for the peaceful and harmonious world order. His experiments with laser were the continuation of his life-long exploration of newer technologies. Highly technological yet extremely spiritual, Paik's laser works clearly indicate his uniquely humanist approach to technology.

Nam June Paik is initiated and developed by Tate Liverpool and museum kunst palast, Düsseldorf, curated by Sook-Kyung Lee and Susanne Rennert. The exhibition is presented in Liverpool by Tate Liverpool and FACT, Foundation for Art and Creative Technology.

For press enquiries contact:
Rachel Skelton
Press Officer
Tate Liverpool
+44(0)151 702 7444

Lucie Davies
PR & Communications Officer
FACT (Foundation for Art and Creative Technology)
+ 44 (0)151 707 4405


Gift of Nam June Paik #3 –
Archeology of New Media
17 December 2010,
Nam June Paik Art Center

Nam June Paik Art Center
85 Sanggal-dong, Giheung-gu, Yongin-si
Gyeonggi-do, Korea 446-905

Share this announcement on: Facebook | Delicious | Twitter

Young Chul Lee, Henk Slager

This year's symposium explores the concept of "archeology" from two different perspectives. On the one hand, archaeology as the scientific method of tracing historical beginnings; on the other hand, archeology as the Foucauldian strategy of deconstructing power/signification systems. One may connect the notion of "archaeology" to Nam June Paik's artistic practice from both perspectives, as it not only embodies the historical beginning of new artistic media, but also an act of inventing what we might call "artistic archeology".

The symposium Archeology of New Media will address both lines of thought: Nam June Paik's re-territorialization of new media, as well as the topicality of his artistic archeology as a strategy of deterritorialization.

Gift of Nam June Paik International Symposium #3: Archaeology of New Media takes place on 17 December 2010 at Nam June Paik Art Center in Yongin, Korea.

Gift of Nam June Paik is a series of symposiums that focus on researching, rethinking and re-contextualizing Nam June Paik's artistic ideas.

Jean-Paul Fargier, Professor and producer of cinema (Paris, France)
John Rajchman, Philosopher and professor at Columbia University (New York, US)
Richard Pinhas, Philosopher and electric musician (Paris, France)
Gregor Jansen, Director, Kunsthalle Düsseldorf (Düsseldorf, Germany)
Kim, Jae-hee, Philosopher of Bergson and Deleuze (Seoul, Korea)
Park, Young-wook, Professor, Yonsei University (Seoul, Korea)
Young-chul Lee, Director of Nam June Paik Art Center (Seoul, Korea)
Moderator: Henk Slager, Dean, MaHKU (Netherlands)

NJP Reader Volume #2: Paikian Epistemics
The symposium Archeology of New Media will function as a preliminary round table for the upcoming NJP Reader, NJP Art Center's journal, to be published in the spring of 2011.

About NJP Art Center
Opened in 2008, Nam June Paik Art Center has been commemorating and promoting Paik's ideas across exhibitions, research, awards, collection and public programs. Tuned to Nam June Paik's multifaceted mind criss-crossing history, society, philosophy, technology and art, NJP Art Center strives to revive and rethink Paik's creative mind in contemporary art and society.

All previous publication from the Gift Symposium and NJP Reader are available online at: njp.kr/root/html_eng/Research_JnP.asp

Nam June Paik Art Center
85 Sanggal-dong, Giheung-gu
446-905 Yongin-si, Gyeonggi-do Korea
Phone: +82 31 201 8554 

Fax: +82 31 201 8515



4. Roberta Allen, FF Alumn, in Guernica Magazine, now online, and more

Hi to everyone,

My story "As Formless As My Fear" was just published in Guernica Magazine.


Hope you enjoy it. My longest story "The Princess Of Herself" will appear
in January in The Collagist, along with an interview and podcast.


My next writing class starts Wed. Jan. 12, 7:15 - 10:15 PM. (From micro memoirs and micro fiction to book-length memoirs and novels). 8 sessions (every 2 weeks over 4 months). One-on-one coaching is available nationwide. See my site below for more info. Please inquire or forward this email to interested parties. Thanks so much.

A wonderful New Year to you all!

Roberta Allen



5. Sanja Ivekovic, FF Alumn, at Galerija Nova, Zagreb, Croatia, thru Jan 31, 2011

Galerija Nova, Teslina 7, Zagreb


16. 12. 2010 - 31.1. 2011

The exhibition presents three artists of different generations, Sanja Iveković, David Maljković, and Ivan Picelj, who are among the most prominent Croatian artists on both the local and the international level. The exhibition does not impose a comprehensive curatorial concept to essentially different artistic procedures of the presented artists; instead, it focuses on a central theme: exploring the project of modernism - socialist modernism - and its artistic or societal possibilities, ideological premises and prejudices, persistence, and memories. Even though the exhibition's title is ironically reminiscent of typical modernist exhibitions named after dominant artistic geniuses, while its potential polemical narrative increases the complexity of relations between modernist impulses and the 'conceptual' artistic practice, such interest is only remotely present on the horizon of possible interpretations regarding the broadness and complexity of the exhibited artworks and their mutual associations.

Since the early 1970s, Sanja Iveković (b. 1949) has been exploring the cross-sections or fields of crisis in the regimes of representation and the ideological positions they are based on. In her work, she has often dealt with the effects of the media on identity formation, especially concerning feminine identity and the specific impact of the media in the socialist regime of Yugoslavia and after its fall, in transitional Croatia. 'Structure' (1976) consists of ten photographs taken from newspapers and magazines, whereby each photograph has been multiplied in ten copies and complemented by a handwritten inscription. The way in which the photographs have been arranged into a series refers to the modernist idiom, that is, to the cliché of masculine painting in which the research on form prevails, by introducing subjects related to the presentation of women into the modernist structure of the image. In her 'New Zagreb (People behind windows)' (1979), the artist has used an official picture taken during the visit of Josip Broz

Tito to Zagreb in 1979. The photograph shows a modernist building on which the artist has painted windows with the silhouettes of people looking at Tito's car as it passes by, although that used to be forbidden for reasons of security. In this way, accidence and the human factor create a structure that is in tension with the modernist raster of the building, as well as the ideological structure of the modernist project. The relationship between architecture on the one hand, and the social discipline and resistance on the other, is the focal point of Iveković's sound installation called 'How We Tore Down the Fence in Varšavska Street' (2010), which reproduces the civic protests against a tycoon's construction project in the heart of Zagreb.

As one of the pioneers of geometric abstraction, Ivan Picelj (b. 1924) has been active in the field of art for six decades. His work is associated with Exat 51 (1950-1956) as he was the group's member and co-founder, as well as the international movement and manifestation of New Tendencies (1961-1967), in which he was active as a graphic designer, an important protagonist, and an advocate. Having accumulated his experiences with Exat 51 and New Tendencies, Picelj continued his activity as an independent artist, developing the broad field of "constructivist art". His multi-disciplinarity has influenced his continuous research on the possibilities of achieving a "sculptural synthesis" with geometric abstraction. The exhibition shows his artworks from two seminal series, "CM" (1964) and "Remember" (1979/80), as well as a recent one called "Surface" (2007), which is now being shown in Zagreb for the first time and which consistently develops his sculptural research on form through the relationship between positives and negatives. "CM" (1964) and "Remember" (1979/80) are paradigmatic examples of Picelj's work, structurally realized by isolating several basic graphic elements and creating an optical structure as a basic formative principle through their repetition and variation. The series "Remember" multiplies a basic sculptural unit and complements it with a textual element and a direct historical reference, marked by an almost agitating poeticism, to graphic design. The series is homage to Mondrian, Malevich, and Rodchenko, the initiators of abstraction, to which Picelj also traces the genesis of his own artistic motto and his ideological allegiance. The exhibition also includes the author's samizdat magazine "a", launched in 1962, which endorsed the idea of "active art" with its graphic and conceptual design, based on participation and autonomy. Until 1964, seven issues were published, some of which were co-authored by Vjenceslav Richter, Victor Vasarely, Getulio Alviani, and Dimitrije Bašičević Mangelos.

One of the main preoccupations of David Maljković (b. 1973) is exploring the historical, cultural, and theoretical legacy of the socialist modernist movement and mapping its relations as one of the so-called peripheral modernisms with regard to the "Western" modernism. Maljković's artworks evoke modernism as an unfinished project and diagnose the impossibility of reconstructing the desire that had originally propelled it. Although involved with the past, Maljković's approach is far from nostalgic; instead, he establishes it as living, productive, open for the future, and venturing into new meanings. The most recent cycle by David Maljković has been inspired by his research on the history and the present fate of once famous cinema production company in Zagreb - Jadran film - which has produced or co-produced more than 800 films, including some of the classics of Croatian cinema. The "Recalling Frames" by David Maljković (2010) take as their starting point one of the most famous films that were made in co-production with this company: "The Trial" by Orson Welles (1962), made after the famous Kafka's novel from 1925. In order to produce the collages for his cycle, Maljković traced some of the locations on which the film was shot and juxtaposed frames showing Zagreb from the early 1960s and the new situation, thus reopening the question of the past and exploring its resonances today - in everyday life, as well as the society's imagination and self-reflection. The collages and the cinematic installation "Recalled Frames" are based on one of the frames from Welles's film, the key scene showing Anthony Perkins on top of the staircase of the Worker's University "Moša Pijade". However, Maljković's film has transformed it into a reflective projection into the spectator's space. The blank projection of the apparently structuralist experimental film is accompanied by a sound collage made of excerpts from "The Trial" - thus, 'empty' frames can also be viewed as a metaphor of the gradual demise of Croatian film industry since the early 1990s.

supported by:
City Office for Culture, Education and Sport City of Zagreb Croatian audiovisual center Croatian Radio 3. Programme National Association for Development of Civil Society Student Center Zagreb Sprüth Mager Gallery Berlin/London



6. The Aaron Burr Society, FF Alumns, at Max Fish Bar, Manhattan, Dec. 21
2nd Whiskey Rebellion
a Distillation of the American Spirit
The Whiskey Rebellion will reconvene @ Max Fish’s bar to celebrate the Winter Solstice and to Protest the closing of Max Fish. The Economic forces working against Max Fish [$20,000 monthly increase in rent] are similar to those forces working against the Whiskey Rebels of 1794; speculators using their ill gotten gains and political influence to undermine small, autonomous zones.

Max Fish Bar — 7 to 9pm
Tuesday, December 21, 2010 • the Winter Solstice
178 Ludlow Street • New York, NY 10002 • (212) 529-3959
F train to 2nd Ave. & Houston • Lower East Side
The Aaron Burr Society will celebrate the Winter Solstice, the shortest day and longest night of the year. The Solstice is part of the natural rhythm of Mother Earth, a change of direction, a rebirth, a new start. After the Winter Solstice, Sun Light will steadily increase symbolizing Hope for our struggle against the forces of Darkness & Deprivation otherwise know as Wall Street.

This year the power of Winter Solstice will be Amplified by a total Lunar Eclipse at the start of this Glorious Day! The combined forces of Mother Earth and the Infinite Universe will be aliened with our Enlightened Principals!

The Aaron Burr Society will summon these Spirits of Enlightenment. The Enlightenment is the true Nature of the American, French & Haitian Revolutions for Universal Equality and Economic Justice. Together, at Max Fish, we will Drink and Swear our Allegiance to the Revolutionary Principles that All People are Created Equal and Endowed by the Spirit of our Collective Consciousness with certain Unalienable Rights, among them are Life, Liberty, Fair Trade, a Living Wage and the Pursuit of Happiness.

Liberté, Égalité, Fraternité!
As we summon the Spirit of Deists, we are ever mindful of Ben Franklin’s aphorism that the gods help of those who help themselves. We believe in taking action against Wall Street and the Forces of Darkness, not waiting for trickle down economics! We are Yankee Rebels of the Enlightenment!

The original Whiskey Rebellion of 1794 was about local autonomy, the environment and against Alexander Hamilton’s two-tiered economic system that created a new American Aristocracy of Wall Street Speculators to replace the British Monarchy. The 2nd Whiskey Rebellion addresses similar issues in an updated context. We must remember that this is not the first time Wall Street has tried to subvert the Republic. We must once again reject Wall Street’s Fraudulent Financing, War Mongering, Environmental Degradation and the Treasonous Undermining of our Democratic Principles.

From the 1950s through the 1980s Wall Street controlled approximately 8% of the American Economy. Today they control 25 to 30% of our Economy. This is Madness & Corruption of the Highest Order! And both the Republican and Democratic parties are culpable in enabling this Crime Against Humanity.

The Aaron Burr Society’s first objective is a Constitutional Amendment that clearly states that Corporations DO NOT have the Rights of Citizens. Our second objective is to restructure taxes, regulations and other forms of subsidies in order to allow Mom & Pop businesses to compete with the Box Stores. But these two goals will only be achieved by exposing the myths of the Free Market and Free Trade while challenging the integrity of Wall Street and their Corporate Cronies. Large Corporation and Small Business cannot exist without Infrastructure and Collective Wealth of We the People.

Join us on the Winter Solstice! Learn about the Aaron Burr Society’s Free Money Movement & the 2nd Whiskey Rebellion. Celebrate the start of this New Year of Enlightenment! Join us and fight the forces of Darkness & Despair!

"Do not go gentle into that good night… Rage, rage against the dying of the light!" Dylan Thomas
The Aaron Burr Society
Yankee Rebels of the Enlightenment
"A powerful and mighty empire is incompatible with the genius of republicanism."
Patrick Henry speaking against the ratification of the Constitution



7. RENO, FF Alumn, at Dixon Place, Manhattan, Dec. 21

Reno presents
Money Talks
December 21
Dixon Place,
161 Chrystie Street

Hola, mi amigo(a)s,
I'm very pleased that tireless Citizen-protection dude, Chuck Bell, from Consumer's Union (who put out Consumer's Report), has agreed to come down and take on economy/job questions in the 2nd act of my show tomorrow night.

Very nice.

You can split in intermission, or stick around - the discussion usually escalates into a kind of town hall session - people meet each other, find out stuff they didn't know, or find out they aren't the only ones that feel the way they do. For me, there is no better way to spend an evening. Plus, the barkeeps are very good with their Dixon Place speciality drinkies.

Have a good party season,





8. Nora York, FF Alumn, at The Public Theater, Manhattan, Jan. 11-15, 2011

Dear All,

Happy Holidays!

I am very pleased to let you know that

Performed and Composed by Nora York
Directed by JoAnne Akalaitis
Written by David Greenspan
Running Time: 60 minutes
$15 Tickets:
publictheater.org or 212-967-7555

The Public Theater 425 Lafayette Street

A workshop production will be seen in the Under the Radar Festival
At The Public Theater New York City

Jan.11, Jan. 12th Jan. 14th and Jan. 15th

Tickets on sale now 15 dollars
( and you best hurry... They are selling out)


Jump is my music theater piece

JoAnne Akalaitis ( director)
David Greenspan ( writer)
Jamie Lawrence ( music director, co-composer)
Kiki Smith (designer)
Jennifer Tipton ( lighting design)
Kaye Voyce (Costume design)

Nora York
Joan Macintosh
Bill Camp
Elliot Villar
Jesse Lenat

Bass: Andrew Nolan
Tenor: Andrew Drost

In this kaleidoscopic music-theatre exploration of the life of Sarah Bernhardt and the story of Tosca, examines the making of art and the passion that inspires it.

Jump is inspired by Puccini’s Tosca, with songs sung either in place of or alongside arias.
Jamie Lawrence and I have developed a form of adaptation, that allows us
to compose our own music and lyrics –and riff off Puccini – while at the same time
we incorporate the source material into the larger theatrical composition. David adapted
scenes from Sardou’s play La Tosca.... along with letters and autobiographical material
of actress Sarah Bernhardt: who played Tosca for almost 30 years. Passages of Jump play like a conventional book musical: spoken scenes are acted to the point where the characters must sing – either our songs or aria fragments from the opera. Many of the original songs are sung by me; and this offers the audience an opportunity to view the character of Tosca through a decidedly contemporary lens.



9. AA Bronson, FF Alumn, in The New York Times, Dec. 20

The New York Times
December 20, 2010, 2:20 pm
National Portrait Gallery Rejects Artist’s Request to Remove His Work
James Estrin/The New York Times

AA Bronson
The National Portrait Gallery in Washington will not comply with an artist’s request that it remove a work of his from the exhibition "Hide/Seek: Difference and Desire in American Portraiture," the gallery’s spokeswoman said Monday afternoon. The artist, AA Bronson, asked last week that the gallery remove from the show his photograph "Felix, June 5, 1994," which shows the body of Mr. Bronson’s partner shortly after he died of AIDS, to protest the removal of another work after it was criticized by members of the religious right and some congressional Republicans.

Mr. Bronson’s photograph is on loan to "Hide/Seek" from the National Gallery of Canada. On Friday Marc Mayer, the director of the Canadian museum, urged the National Portrait Gallery to respect Mr. Bronson’s wishes and remove the work but did not formally demand its return.

Mr. Bronson responded to the gallery’s decision on Monday with a strongly worded e-mail to Martin E. Sullivan, the director of the National Portrait Gallery.
"My lawyer suggests that, according to my moral rights under copyright law in both Canada and the U.S.A., I have the right to withdraw my work from ‘Hide/Seek,’ " he wrote in the e-mail, which he also sent to journalists. "Please remove my work from the exhibition immediately."

On Nov. 30 the National Portrait Gallery, acting on the orders of the secretary of the Smithsonian Institution, G. Wayne Clough, removed an AIDS-themed video by the artist David Wojnarowicz from "Hide/Seek." The video includes an image of ants crawling on a crucifix and was criticized by the president of the Catholic League, Bill Donohue, and some House Republicans.



10. Pope.L, Harley Spiller, FF Alumns, in The Wall Street Journal, Dec. 16

Pope.L’s work is discussed and illustrated in the December 16th issue of The Wall Street Journal. Harley Spiller’s article on newsstand paperweights in The Last Monitor is also mentioned. Please see the following link:


Thank you.



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
Jenny Korns, Webmaster
Harley Spiller, Administrator
Eben Shapiro, Program Coordinator
Susie Tofte, Project Cataloguer
Judith L. Woodward, Financial Manager