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Contents for January 10, 2012

1. Laurie Anderson, Eleanor Antin, Lee Breuer, Lenora Champagne, Richard Foreman, Simone Forti, RoseLee Goldberg, Barbara Hammer, Pablo Helguera, John Jesurun, Joan Jonas, Ishmael Houston-Jones, John Kelly, Alison Knowles, Linda Mary Montano, Warren Neidich, Angel Nevarez & Valerie Tevere, Pauline Oliveros, Nicky Paraiso, Yvonne Rainer, Carolee Schneemann, Theodora Skipitares, Lois Weaver, Marianne Weems, Martha Wilson, and Robert Wilson, FF Alumns, in the 100th Issue of PAJ: A Journal of Performance Art, with launch events at Location One, Manhattan, Jan 24-25


Public events to celebrate PAJ 100, "Performance New York," in January 2012 To celebrate the 100th issue of PAJ: A Journal of Performance and Art the SoHo gallery Location One, 26 Greene St, New York will host two evenings of public talks on themes from the issue. This special issue, titled "Performance New York," features contributions by several generations of artists, curators, critics, and presenters working in the downtown arts community. For two evenings, January 24 and January 25, 2012, contributors to PAJ 100 will present their response to two of the main themes of the issue, "Belief" and "Being Contemporary." Bonnie Marranca, co-founder and editor of PAJ, will moderate the discussions.

Belief - Tuesday, January 24, at 7:00 pm
In a world where so many values-social, artistic, political, religious, cultural, economic-have been questioned and contested in this era of great transformation on a global scale, what do you still believe in? What are your strongest beliefs in relation to your work in the world?
Barbara Hammer, filmmaker
Gregory Whitehead, writer and radio producer
Alison Knowles, Fluxus artist and performer
George Quasha, poet and visual artist
Lenora Champagne, performer and writer
Mac Wellman, playwright

BEING CONTEMPORARY, Wednesday, January 25, at 7:00 pm What makes a performance, a play, a piece of music, or an essay contemporary? What does the search for the contemporary or the innovative mean to the arts and to the public today? How is it recognized or understood?
Joan Jonas, visual artist and performer
Linda Weintraub, curator and writer
Martha Wilson, visual artist and curator
Kenneth Collins, theatre director
Claire Bishop, art historian and critic

For complete information on the Location One events please visit

Thank you.



2. Jeanine Oleson, FF Alumn, at Commonwealth & Council, Los Angeles, CA, opening Jan. 13

Jeanine Oleson: The shore is still in the sea

January 13 - 28, 2012
Reception: Friday, January 13, 8 - 11 PM, performance at 9:30 PM
Location: 3006 W 7th St #220 Los Angeles CA 90005
Open Hours: Wednesday - Saturday, 12 noon - 6 PM

Commonwealth & Council presents a performance and exhibition of new work by New York based artist Jeanine Oleson. "The shore is still in the sea" is Oleson's first solo exhibition in Los Angeles.

No stone is left unturned as Oleson prepares a new body of work. In fact, to stretch the metaphor to almost translucent thinness, each stone is not only turned, but collected and tossed in a tumbling machine until all spill out, not shined, but magnetized and susceptible to unexpected affinities. The stones for "The shore is still in the sea" were primarily collected from Arctic climes and contain trace elements of fatalistic optimism, false utopias, risk societies, apocalyptic narratives and anxieties, image subversion, visual obstacles, well-oiled conspiracies, yawing borders, and futile epistemology. These elements reconfigure through Oleson's multi-media approach into image scrolls, photographs, cyanotypes, sculpture and performance.

Oleson challenges the authority and classic forms of image-making by stacking images on paper scrolls. Two outdated telephones silently await callers, the doors of a seed bank appear rusted shut and repellant to hopes of replanting, NASA satellites bloom like heavy white flowers in the sun,
thick power lines interrupt Ansel Adams-esque landscapes, and black cloth obscures Oleson in there-but-not-there self-portraits. In grouping these images together, Oleson disables the definitive statement made by an isolated image and asks the viewer to draw their own narratives and conclusions. A large-scale photograph inhabits a single sheet of paper, spliced by Oleson's hand - the surface disrupted by a large incision that separates land and water, solid and not solid, known and not known, inside the image and outside the image - highlighting the arbitrariness of these delineations. "The shore is still in the sea" also presents a series of cyanotypes marrying early photographic innovations with reproductions of found images of sun flares, northern lights, black holes, quasars; the simple process of cyanotype contrasting the complex and high cost processes involved in producing the content. The sculpture and performance literally render Oleson's hand and voice in the exhibition and provide a clear definition and working sense of the relationships between and beyond the concepts and specific sites of the images. Involving smoke machines, survival blankets and a disembodied communication, the performance is Oleson's attempt to "bridge a linguistic space of survival and optimistic futility."

Jeanine Oleson was born in Astoria, OR and attended the School of the Art Institute of Chicago, Rutgers University, and Skowhegan School of Painting and Sculpture. Oleson's work has been included in exhibitions at Beta-Local, San Juan, PR; MOMA/PS1, Queens, NY; X-Initiative, NY; Grand Arts, Kansas City, MO; Socrates Sculpture Park, Queens, NY; L.A.C.E., Los Angeles; Monya Rowe Gallery, NY; Samson Projects, Boston; Participant, Inc., NY; Pumphouse Gallery, London; and Art in General, NY. Oleson is an Assistant Professor of Art, Media and Technology at Parsons the New School for Design. To view past projects and learn about upcoming performances, visit www.jeanineoleson.com.

Commonwealth & Council
3006 W 7th St #220
Los Angeles CA 90005



3. Bob Goldberg, FF Alumn, at Dixon Place, Manhattan, Jan. 13

Happy New Year, Fans! Friday the 13th is your lucky day!

The Famous Accordion Orchestra returns to the Lounge at Dixon Place, this
Friday January 13th, at 7:30 pm.

We'll play old favorites and maybe some new ones. And it's only $5.00!
And you can drink (if you choose to)!

The Lounge at Dixon Place
161A Chrystie Street, between Rivington and Delancey.


We will be performing monthly at Dixon Place through the spring, and we will
reprise our annual World Tour of Brooklyn Parks and Gardens, thanks again to
the Brooklyn Arts Council. Stay tuned!
Famous Accordion Orchestra: This week's lineup:
Bob Goldberg accordions
Mark Nathanson
Melissa Elledge
Rachel Swaner
Greg Burrows percussion




4. Rachel Berghash, FF Member, now online at youtube.com/watch?v=O4Zqe4-JnXk

Dear Friends,

Some of you who missed my interview on CUNY TV, have asked me to send them the link to that interview now on YouTube. The interview is about my recently published book, "Half the House, My Life In and Out of Jerusalem."

Feel free to pass it on.






5. Peter Baren, FF Alumn, in the 13th International Multimedia Art Festival cd catalog

The 13th International Multimedial Art Festival - IMAF 2011
September - November 2011

CD catalogue in PDF format
Texts on English
Video of live performances
IMAF 2011 participants:
Bada Dada (Hungary), Marko Bogdanovic (Serbia), Radoslav B. Chugaly (Serbia), Elena Italia (Italy), Peter Baren (The Netherlands), Stanisa Krstic (Serbia), Jozsef Biro (Hungary), Aleksandar Jovanovic (Serbia), Robert Pugh (United Kingdom), Shaun Caton (United Kingdom), Seiji Shimoda (Japan), Laszlo Lantos-Triceps (Hungary), Mari Falcsik (Hungary), Nenad Bogdanovic (Serbia), Cristobal Yanez Lanzarini (Chile)

A lot of photos from live art performances!
With text by Nenad Bogdanovic (Serbia).
Edited in 400 copies

If you want to buy this CD catalogue you can get information on the
following e-mail:nb.liveart@gmail.com

All the best,



6. Marianne Weems, Moe Angelos, FF Alumns, in The New York Times, Jan. 8

January 8, 2012
The New York Times
Theater Review | 'Sontag: Reborn' Life, Mediated in a Journal, by a Writer Busy Being Born

The Susan Sontag of the skunk-striped hair and the illustrious reputation as a public figure looks back on another Susan Sontag, a precocious but insecure young woman hungering for experience, in "Sontag: Reborn," a touching, exquisitely rendered portrait of the artist (and thinker) in the process of self-creation at the Public Theater as part of the Under the Radar festival.

A production of the Builders Association, the show has been adapted from the first volume of Sontag's journals (covering the years 1947 to 1963) by Moe Angelos, and directed with a delicate touch by Marianne Weems. Ms. Angelos, best known as a member of the Five Lesbian Brothers troupe, portrays the title character in her late teens and early 20s onstage, and as the established woman of letters via video projected on a scrim that fronts the simple set, designed by Joshua Higgason. For most of the play Ms. Angelos is seated at a desk piled high with the books - Tolstoy, Gide, Mann - that Sontag devoured throughout her life, the nurturing food that fueled her ambition and fed her soul.

As the young Sontag scrabbles and scribbles toward maturity page by page, declaring archly profound thoughts ("What is it to be young in years and suddenly wakened to the anguish, the urgency of life?") and wrestling with her sexuality, the older Sontag hovers over her shoulder, a ghostly visitor from a distant future. Regarding her former self with wry embarrassment at one moment, tender understanding the next, the older woman occasionally interposes commentary, as plumes of cigarette smoke wreathe her in an aura of bohemian world weariness. (Only in this aspect does "Sontag: Reborn"
skirt clichéd images of Sontag as a professional sage.)

When the young Sontag writes of a tedious night with her stepfather, then contemplates erasing the sentence, she decides against it. "It is useless for me to record only the satisfying parts of my existence," she proclaims. Casting a scornful glance at her younger self, the older Sontag dryly retorts, "There are too few of them anyway!"

When Sontag died in 2004 she had become a cultural figure of such renown that more people probably knew her as a kind of all-purpose intellectual celebrity than as the essayist, cultural critic and novelist she fought so hard to become. "Sontag: Reborn" movingly reframes the image by illuminating her struggles to find her voice as a writer - the journals end shortly after her first novel, "The Benefactor," was published (to a withering review in The New York Times) - and the restless process of emotional and sexual discovery that is an all but universal experience but is rarely recorded with such candor and acumen.

The young Sontag, in Ms. Angelos's quietly fervid performance, has the courage of her convictions without quite yet knowing what they are. She escaped a smothering home in Southern California - "what rotten, dreary, miserable lives they lead," she says of her mother and stepfather, sounding the typical teenager - to matriculate at the University of California, Berkeley, at 16, an age when most American girls are wondering what they'll wear to the high school dance.

In tandem with the voice of the journals, which grows less arch and more natural as Sontag grows older - even as it remains knotty with self-seriousness - Ms. Angelos tempers the feisty neuroticism of the teenage Sontag with more reflective shadings as she begins finding her way toward professional equilibrium, rejecting a comfortable life in academia for the thornier path of the independent writer's vocation.

Still, in these early years Sontag fluctuates between self-assurance and self-doubt - perhaps both necessary ingredients in the process of forging an identity. The joyous discovery of sensual pleasure with her first lesbian lover leads to a manifesto of self-determination: "I know the truth now," she writes. "I know how good and right it is to love - I have, in some part, been given permission to love. Everything begins from here."

And yet just minutes later - the transition is almost as whiplash abrupt in the complete journals - Sontag has switched courses entirely, moved to the University of Chicago, and entered her own gradually stultifying marriage to Philip Rieff. "Whoever invented marriage was an ingenious tormentor," she is soon gloomily intoning to her journal. "It is an institution committed to the dulling of feelings."

Running just 80 minutes, and immeasurably enhanced by the fine video design of Austin Switser, "Sontag: Reborn" condenses material that is naturally more expansive in the journals, telescoping the events of Sontag's life into abbreviated episodes. (My favorite aperçu - "Life is suicide, mediated" - alas did not make the cut.) But Ms. Angelos's text captures the inquisitive, sometimes self-lacerating tone of Sontag's writing, as well as the daily patterns of her life, through mundane details like the lists of books she intends to read.

In one of the evening's most affecting (and funny) passages, Sontag reflects on the purpose of recording the events of her interior life day by day. After discovering some hurtful comments about herself in a lover's journal, Sontag perceptively writes that "one main (social) function of a journal or diary is precisely to be read furtively by other people."

The older Sontag then cuts in to offer a more considered appreciation of the process. "Superficial to understand the journal as just a receptacle of one's private, secret thoughts," she says, "like a confidante that is deaf, dumb and illiterate. ... In the journal I do not just express myself more openly than I could in person. I create myself."

"Sontag: Reborn" gives compelling theatrical life to this process, as it was undertaken by a woman whose private battles with her demons are all the more affecting because we know that she ultimately achieved the intellectual eminence - and, despite a healthy ego, the compassionate spirit - that her young self so ardently, so eloquently reached toward.

SONTAG: REBORN Based on the book by Susan Sontag, edited by David Rieff; directed by Marianne Weems, adapted and performed by Moe Angelos; sound by Dan Dobson; video by Austin Switser; sets by Joshua Higgason; lighting by Laura Mroczkowski; costumes by Andreea Mincic; makeup by Dick Page; production stage manager, Ms. Mroczkowski. A Builders Association production, Erica Laird, managing director; Matthew Karges, business manager; presented by the Public Theater, as part of the Under the Radar Festival; Oskar Eustis, artistic director; Patrick Willingham, executive director; Mark Russell, festival producer. At the Public Theater, 425 Lafayette Street; (212) 967-7555; publictheater.org. Through Sunday. Running time: 1 hour 20 minutes.



7. Susan Bee, Carrie Moyer, Carla Stellweg, FF Alumns, at SVA Spring 2012 Lecture Series, Manhattan, Feb. 23, 28 and April 3

SVA Spring 2012 Lecture Series, features presentations by the following
Franklin Furnace Alumns:

Susan Bee, Feb. 23, 6:30 pm, 133/141 W. 21st St. Room 101C
Carrie Moyer, April 3, 7 0m, 209 E. 23rd St., 3rd Floor Amphitheater
Carla Stellweg, Feb. 28, 7 pm, SVA Theatre, 333 W. 23rd St.

For complete information please visit www.sva.edu

Thank you.



8. Andrea Fraser, FF Alumn, at National Center for the Preservation for Democracy, Los Angeles, CA, Jan 23

Andrea Fraser, Men on the Line, KPFK, 1972
Monday, January 23, 7:30 PM
Miss Vaginal Davis, My Pussy Is Still in Los Angeles (I Only Live in Berlin)
Sunday, January 29, 1-3:30 pm


West of Rome, as part of the Pacific Standard Time: Art in L.A.
1945-1980 Performance and Public Art Festival, organized by the Getty in
conjunction with LA> performances by Andrea Fraser and Miss Vaginal Davis. Both works are part of
a series, curated by Emi Fontana, of new performances inspired by the
influential Los Angeles-based Woman's Building. The curatorial aim of the
series is to highlight the tremendous impact of the Woman's Building and
feminist practices on contemporary art production.

For Men on the Line, KPFK, 1972, Fraser transcribed and edited the dialogue
from a 1972 live radio broadcast in which four men, committed to feminist
struggles, discuss the hopes and anxieties that feminism stirred in them.
The artist performs all four participants and, by inhabiting the discourse
of men struggling to engage with feminism, Fraser takes up the feminist
challenge of emerging from internalized stereotypes to redefine the self and
experience empathy across the boundaries of gender identity and hierarchy.
Fraser's performance touches on some of the central concerns of the feminist
movement: how social norms are internalized and embodied; how psychological
structures are projected and performed socially and interpersonally; and how
gender identity and hierarchies are produced and reproduced in these
processes. It also touches on some of the central arguments within feminism
around issues of separatism, essentialism, and the relationship between
feminist struggles and other forms of domination. Fraser shows us how
Woman's Building and the larger feminist movement tackled these issues early
on and were influential in sparking a dialogue that expanded beyond the
confines of women's organizations, igniting the hope that women's liberation
could mean the liberation of everyone.

Andrea Fraser is one of the most well known American performance artists
working today. Her work is often associated with feminism and institutional
critique, exemplified by her site-specific approach to investigating social
and psychological structures.

Andrea Fraser, Men on the Line, KPFK, 1972
Monday, January 23, 7:30 PM
National Center for the Preservation for Democracy, 111 North Central
Avenue, Los Angeles, CA 90012
Admission by donation at the door or online at www.westofrome.org/future

Miss Davis' My Pussy Is Still in Los Angeles (I Only Live in Berlin) is a
Lesbian Separatist tea party that will combine pre-recorded music,
spoken-word narratives, and live performance to explore the utopian promise
of Los Angeles and the dystopia of the late 1970s through the lens of the
Woman's Building, gender issues, and her own career as a performance artist.
The event will also feature a high tea reception and the publication of a
zine-a special signed artist's book that chronicles and supplements Miss
Davis' performance. The tea party will unfold through the reading of letters
(fictional and not) and the spinning of records that reflect upon the
history of Los Angeles in relation to the counterculture performance scene,
especially that of gay and transgender performers and the activities of the
Woman's Building. Designed as an homage that seeks to pay tribute to such
pioneering culture workers, Davis' piece seeks, in part, to fill the gaps in
the performance history of LA by creating narratives for figures that are
frequently overlooked or left out of the popular record. The biographical
element is strong in the work, as Davis herself was just starting her career
as a performer during the 70s in L.A.

Over the last four decades, Miss Vaginal Davis has produced a diverse range
of work that absolutely defies categorization. This performance marks a
timely homecoming for the artist, who recently relocated to Berlin.
Miss Vaginal Davis, My Pussy Is Still in Los Angeles (I Only Live in Berlin)
Sunday, January 29, 1-3:30 pm

Southwestern Law School, Tea Room, 3050 Wilshire Boulevard, 5th Floor, Los
Angeles, CA 90010

Tickets include one hand made, numbered and signed copy of an artist book by
Miss Davis and a High Tea Party with finger foods, pink bubbles... Purchase
tickets online at www.westofrome.org/future
For more information visit www.westofrome.org or



9. Sanja Ivekovic, FF Alumn, in The New York Times, Dec. 22, 2011

The New York Times
December 22, 2011
Croatia's Monumental Provocateur

ASK the Croatian artist Sanja Ivekovic about her work, and she is likely to minimize her role in it. "It is not a genius that is making art but the collaboration of many people," she declared this month, speaking in heavily accented English, as she strode into the atrium of the Museum of Modern Art. "We should be grateful not to God for giving us our talent but to the people who support us."

Ms. Ivekovic was attending - along with Roxana Marcoci, the Modern's curator of photography, and a huge installation crew - to the last details of her first American survey show, "Sweet Violence," which opened at the museum last Sunday and runs through March 26. It gathers nearly 40 years' worth of work by the 62-year-old artist, starting with the videos, performances and photocollages that made her name in Europe in the early 1970s and extending to more recent projects like "Women's House," a continuing series of multimedia works and events begun in 2002 in collaboration with women's rights groups around the world.

Though little known here, Ms. Ivekovic is something of a cult figure in Europe, where she has long shown in exhibitions like the Venice Biennale, Documenta and Manifesta and in the last five years has had solo exhibitions at several museums. For Europeans, part of the draw is that her work addresses their common political history, with all its fissures, in a way that "drags the specters out into the light and allows us to confront them," said Charles Esche, the director of the Van Abbemuseum in Eindhoven, the Netherlands, which surveyed her career in 2009.

Enrico Lunghi, the director of the Mudam in Luxembourg, which will give Ms. Ivekovic another retrospective in June, noted that "she is also an artist who really made her whole career outside of the commercial system."

"You cannot compare her with Jeff Koons or even Marina Abramovic," he added. "She is not a popular artist. You cannot just look at her work, you have to go deep into it."

In many ways Ms. Ivekovic can be seen as an anti-Abramovic. Unlike that other artist from the former Yugoslavia - who had a hugely popular retrospective at the Modern in 2010 - Ms. Ivekovic's work does not depend on personality or spectacle but on her ability to drive into the heart of a real social situation in clear and graphic terms. Though both artists came up a few years apart, Ms. Abramovic moved to the west in 1976, whereas Ms. Ivekovic stayed in Yugoslavia, confronting the nation's eruption into civil war and the social issues that accompanied its reconfiguration into independent republics. And while Ms. Abramovic is known for exploring extreme psychological and bodily states, Ms. Ivekovic - "the first feminist artist in Yugoslavia," in Ms. Marcoci's view - has been consistently engaged with the intersection of the personal and the political.

"Women's House," represented here by a series of poster-size photographs appropriated from ads for high-fashion sunglasses, is typical of Ms. Ivekovic's approach. Each depicts a glamorous model hiding behind shades, with the logo obscured by the story of an abused woman - a tactic that upends the reading of the image, making the model look hunted and fragile. The result is an aesthetically alluring social activism, one that, like much of her work, was not intended for museums. "They were all produced as public artworks," Ms. Ivekovic explained, and either inserted in magazines or plastered as posters across the cities where they were made.

The same is true of the showstopping piece in the atrium, "Lady Rosa of Luxembourg" (2001), an eight-foot-high gilded sculpture of a pregnant woman poised atop a phallic-looking, 34-foot obelisk. Its base is covered with words like "kultur," "la justice" and "bitch."

Made for a temporary public art project in Luxembourg in 2001, "Rosa" is a full-scale replica of that city's "Gëlle Fra" ("Golden Lady") war memorial, except that the original figure - the Greek goddess Nike - isn't pregnant, and her pedestal is inscribed with quotations celebrating national war heroes. Ms. Ivekovic also named her golden lady for the martyred Marxist Rosa Luxemburg, quite a provocation for one of Europe's banking capitals. The piece, with its implied critique of a national symbol, set off such a public furor that it became the subject of two parliamentary debates. Ms. Ivekovic's interest in the political developed early. Raised in an intellectual household in Zagreb, she considered studying sociology. "I was always drawing," she said. "Art came out so easily, you know? I wanted something that would be a challenge." In the end she took the easier path, entering the Academy of Fine Arts in Zagreb in the mid-'60s, just ahead of the European student uprisings of 1968 and the birth of a new Yugoslavian avant garde embracing Conceptualism and performance. "It was the student culture centers where things were happening," she said, "and it was exciting to break the rules."

Of course rules in Yugoslavia differed considerably from those in other Communist-bloc countries. Under the dictatorship of Marshal Josip Broz Tito, Modernist abstraction (rather than Socialist Realism) was the officially recognized artistic style. Artists could travel freely and had some exposure to what their Western peers were doing; renegade movements were tolerated, if not widely promoted. Like her peers Ms. Ivekovic had her first solo show at a state-supported exhibition space, the Student Center Gallery in Zagreb.

Her first video, created in 1973 for an Austrian biennial with the artist Dalibor Martinis, her former partner and the father of her daughter, Anja, was a typical example of "art that was not meant to be commodified," as she put it. The aim was to splice one-minute videos that questioned reality into a prime-time news program in Austria. (Though that piece was never broadcast, Ms. Ivekovic was later able to screen the 1982 piece "Personal Cuts," on Yugoslavian national television.)

"Artists in the West were dealing with or fighting against the art market,"
she said. "But in Yugoslavia, since the market didn't exist, it was from the beginning about the big political issues - you know, about everyday life."
To support themselves the couple worked as graphic designers.
If an art market didn't exist, other markets were evident. By the 1970s,
courtesy of Tito's mix of socialism and free-market economics, women's magazines could be obtained in Yugoslavia, and their pages became fodder for Ms. Ivekovic's artwork. Often she mixed them with photographs of her own body and face, as in the 64-work series "Double Life" (1975-76). Each pairs a woman in a magazine ad with an uncannily similar snapshot of Ms. Ivekovic herself - uncanny because in most cases the snapshot was taken years before the ad, suggesting that female posturing is deeply ingrained.
In Yugoslavia as elsewhere, Ms. Ivekovic said, "the conceptual artists of the first generation were not only asking what art is, but who are the artists, what's your identity? So of course the feminist issues became interesting to me."

Tito too was part of everyday life, Ms. Ivekovic said. "Triangle" (1979), an 18-minute performance that became her best-known work, was enacted one morning as Tito's motorcade passed beneath her windows. Citizens were supposed to stay indoors, but Ms. Ivekovic went onto her balcony with a bottle of whiskey and some books and mimed masturbation. Her behavior caught the eye of a security agent on a neighboring rooftop; within minutes a policeman was at her door, ordering her back inside. "Objectively it wasn't a dangerous act," she said. "But what was interesting was that it was playing with the system. My question was: Would this guy actually do something, or would he keep looking and not perform his duty?"

A decade after Tito's death in 1980 came the years of bloody conflict that sundered the former Yugoslavia, and the authoritarian, nationalistic rule of Franjo Tudjman, Croatia's first president, which ended in 1999. In the new republic, Yugoslavia's common socialist past was swept under the rug; Ms. Ivekovic's intent in some more recent works has been to sweep it back out. Her interest in working with women's groups developed in the aftermath of those conflicts too, as veterans returned, and domestic violence escalated. She has also probed other deep rifts beneath the surface of Europe.

Take "Lady Rosa." At first blush the piece seemed to challenge Luxembourg's patriarchal status quo. But it also tapped into a wellspring of conflict over the first Gëlle Fra. Erected by an anti-German faction at the end of the German occupation during the First World War, it was later dismantled by the occupying Nazis, then hidden for decades before being resurrected in 1985 as a symbol of Luxembourg's unity and neutrality. When Ms. Ivekovic's piece went up, said Mr. Lunghi, who had organized the original "Lady Rosa" project, "she reopened this Pandora's box. All the people who fought over the Gëlle Fra for 50 years, now they had Lady Rosa as a common enemy." Ms. Ivekovic said, "I myself was shocked because this wasn't my intention." She added: "The public space is always a social field, and it's the place where conflicts are happening. We may be living in the 21st century, but our history is with us."



10. David Medalla, FF Alumn, at Another Vacant Space, Berlin, Germany, Jan. 19

David Medalla, FF Alumn, will give a live recitation of his fairytale entitled "The Voyage of Young Arbmonis to Despotamania", on the night of the finissage of his solo exhibition, curated by Adam Nankervis, at 'another vacant space.'- Biesentalerstrasse 16, Wedding district, D - 13359 Berlin, Germany, on January 19, 2012, starting at 7 p.m.

"The Voyage of Young Arbmonis to Despotamia" relates the adventures of a handsome young sailor from Moebiusville, on the island of Palindrome, who gets shipwrecked after a tsunami and finds himself on Despotamia, a land ruled by a dynasty of despots. David Medalla wrote his fairytale inside 'another vacant space' during the recent Christmas holidays. It is an allegory about oppression and at the same time a hymn to liberty and freedom. At the end of the month of January 2012, David Medalla will attend the opening of the 'Migrations' exhibition at Tate Britain in London. This historic exhibition, the first large-scale survey of art by non-British artists who worked in England, is one of the first shows organised by Penelope Curtis, the new director of Tate Britain.

One of David Medalla's celebrated 'Cloud Canyons', his bubble-machines created in 1963, the first work of auto-creative art, will be in the 'Migrations' exhibition. The catalogue of the show will contain the text of a recent telephone interview that Tate curator Lizzie Carey-Thomas conducted with David Medalla, the founder and director of the LONDON BIENNALE. The 'Migrations' exhibition at Tate Britain will last until early August 2012 and will therefore coincide with the LONDON OLYMPICS of 2012.



11. LuLu LoLo, FF Member, at Metropolitan Playhouse, Manhattan, Jan. 18-29

Metropolitan Playhouse Presents A Horatio Alger, Jr. Festival
A LuLu LoLo Production
A New One-Act play Written and Directed by DAN EVANS


Costume Designer: RAMONA PONCE

World Premiere Performance:
Wednesday, January 18th @ 7pm

Subsequent Performances:
Friday, January 20 at 7pm
Saturday, January 21 at 9pm
Friday, January 27 at 7pm
Sunday, January 29 at 4pm

Performed at:
9thSPACE First Avenue and 9th Street

Tickets: $18 Seniors/Students: $15; tdf vouchers
Call 212.995.5302 Log on: www.metroplitanplayhouse.org

*Member of Actors Equity Association, Actors Equity Approved Showcase



12. Maja Petrić, FF Alumn, at Henry Art Gallery, Seattle, WA, Jan. 26-Feb. 4

The Eyes of the Skin* is a dance/new media installation that delves into the complex nature of tenderness. It is a site specific piece created for the Henry Art Gallery.

This cross-departmental collaboration between choreographer, Jennifer Salk (Associate Professor, Dance) and new media artist Maja Petrić (PhD candidate, DXARTS) explores concepts of tenderness and fragility with a multi-sensory journey allowing viewers to experience the entire museum in unexpected ways. Upon entering the Henry viewers move through the interstitial spaces - hallways, stairwells, elevators, ramps - experiencing sound, light, and dance. These small environments create places of vulnerability, playfulness, intimacy, fragility and cruelty among a tightly knit group, choreographed by Salk.

Using light and projection technology, Petrić's installations will appear in distinct locations in the Henry where the dancers interact. In the Stroum gallery, a large wall provides the backdrop to the main dance; it slowly "cracks" and discloses an illusion of a realm behind the wall.

Mixed Media Art Installation
Artist: Maja Petrić
Video Mapping: Hrvoje Benko
General Assistant: Jovanka Uzelac
Technical Assistant: Kim Brown

Choreography: Jennifer Salk
Stage Designer: Amiya Brown
Stage Manager: Monique Courcy
Light Board and Assistant Stage Manager: Esmeralda Valenzuela

Funding for Eyes of the Skin is provided by the University of Washington Donald E. Petersen Endowment for Excellence.

Performances are on January 26, 27, and February 2, 3 at 7:30PM and January 28, 29, and February 4 at 2:00PM. All performances are non-ticketed and free with museum admission.

Henry admission is by suggested donation: $10: General, $6: Seniors (62+), Free: Henry members; UW students, faculty, and staff with ID; high school & college students with ID; children 13 years and under, first Thursdays. Petrić's mixed media installation can be viewed from January 26 until February 4, 2012.

*Title of the dance performance is inspired by Juhani Pallasmaa's book Architecture and the Senses: The eyes of the skin.


The Henry Art Gallery
15th Ave NE & 41st St
Seattle, Washington 98195
United States of America



13. Represent: A Feminist Dialogue Across Generations, at Soho20 Gallery,
Manhattan, opening Jan. 13

A Feminist Dialogue Across Generations

SOHO20 Gallery
547 West 27th Street, Suite 301
New York, NY 10001

Friday, January 13th 2012 from 6 - 8 pm

'Self Censoring'

As an artist who shows their work - whether to the public through an exhibition or to an individual be they a curator, dealer, family member or close friend - how receptive are you to constructive criticism? In what way if any does criticism shape, confine or guide your creative production? If someone suggested you change a particular element of your work, would you? Do you feel this impulse to please others comes from a place of self-censorship or a beneficial, mutual creative dialogue?

REPRESENT 2012: What do we want from Feminism and how can we achieve it?
Continuing in the tradition of the New York Feminist Art Institute, NYFAI (1979-1990) http://www.nyfai.org. An event of the Feminist Art Project. For further information contact: Nancy Azara @ 212-925-5777, nancy@nancyazara.com

This event is free and open to the public



14. Harley Spiller, FF Alumn, now online at http://www.youtube.com/watch?v=1s97AkhSYoU

Please take 5 minutes to view a new project with Harley Spiller, FF Alumn, IBCreative, and Jonathan R. Cohen. Here's the link:


Please direct any comments or questions to hspiller@nyc.rr.com

Thank you very much and all best wishes for a happy and healthy 2012.



Goings On is compiled weekly by Harley Spiller



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
Judith L. Woodward, Financial Manager
Eben Shapiro, Program Coordinator
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