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Contents for April 09, 2012

María Alós, In Memoriam, (1973, Cambridge, MA - 2012, Mexico City)

María Alós was an interdisciplinary artist whose early departure due to a battle with brain cancer leaves behind not only a significant art legacy, but also a considerable number of colleagues, close friends, and family, attesting to her keen interest in human beings. Even today, her presence continues to emerge on a daily basis through the relationships she helped forge amongst those around her. María's short life is counteracted by the passion with which she embraced its most essential aspects, including her approach to creativity. In this regard, her art became part of a lived experience that shed light on key aspects of the dynamics informing institutional as well as personal interactions with society at large. The openness of María's work will allow it to grow and evolve in years to come, beyond her own time.

María's work confronts institutional structures and individual belief systems, both in society and within the art world. As such, it encourages viewers to reconsider practices and actions that normally go unquestioned, for example, the legitimacy of the art object, the art world's systems of validation, and the deferential gaze of the museum visitor. Furthermore, her work draws from activities that reference the social control and bureaucratic practices that any individual is subjected to on a daily basis. In recent years, María was a driving force behind MODO (Museo del Objeto), Mexico City.

After graduating with an MFA from Syracuse University in 2000, María became a pivotal figure in the contemporary New York art community. In 2001, she launched, together with Nicolas Dumit Estevez, The Love a Commuter Project, a one-day event, on Valentine's Day, for which artists were invited to present actions and performances in the New York City subway system. The final installment of The Love a Commuter Project took place at the 2003 S-Files, at El Museo del Barrio, New York. In 2002, Alós initiated an on-going collaboration with Estevez entitled The Passerby Museum, consisting of a public intervention dealing with the material cultures of the peoples in the areas visited by the project. The Passerby Museum traveled to Madrid, Spain, as part of Madrid Abierto/ARCO; Puebla, Mexico, as part of PLATAFORMA; the South Bronx, as part of Rehearsed, at Longwood Art Gallery of the Bronx Council on the Arts; Kitchener, Canada, as part of CAFKA; and Havana, Cuba, as part of the IX Havana Biennial. The Passerby Museum was also hosted by UNAM (Universidad Nacional de México), Mexico City, as part of an exhibition at the Museo de Ciencias y Artes (MUCA Roma) and by the Claremont Museum of Art, Claremont, California.

Before moving to Mexico City, María exhibited in New York at places such as, the Bronx Museum of the Arts, El Museo del Barrio, Exit Art, Art in General, Artists Space, The America's Society, and at the Clocktower Gallery, P.S.1. Her comprehensive, international trajectory includes exhibitions in the United States and abroad at the Reina Sofía Museum, Madrid; Fundación Espais, Girona, Spain; Museum of Natural History and Museum Carrillo Gil, Mexico City; Nasher Museum of Art, Durham, North Carolina; National Gallery of Art, Warsaw, Poland; Museum of Contemporary Art Chicago Chicago, Illinois; Lisbon Triennial of Architecture and Urbanism; Archivo General de la Nación, Mexico City; and at Darb 1718 Egyptian Contemporary Art & Culture Center, Cairo, Egypt; among many others. Besides her pivotal contribution to the field of contemporary arts, María will be remembered by her passion for collecting toys and objects of the most interesting kind, perhaps understanding their capacity to talk with and of the societies that generated them; and of each one of us. María will also be remembered for her commitment to her friends and family, and for her enthusiasm for traveling and visiting new places.

María remains part of the memories and lives of those who had the opportunity to meet her. She is survived by her son Camilo Artígas Alós, her partner Claudio Ramírez Castelli, her mother, Guadalupe Alós Esperón; her Father, Eduardo Alós; her sisters María José, Mónica, and Alejandra Alós Esperón; her nieces Julia and Leo; her aunts Mina and Lulú, and by her uncle and doctor Toño. María loved New York City.

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1. Bryan Zanisnik, FF Fund recipient 2011-12, now online at artnet.com

Please visit

http://www.artnet.com/magazineus/news/artnetnews/philip-roth-bryan-zanisnik.asp

and

http://www.galleristny.com/2012/04/philip-roth-halts-reading-in-a-performance-piece/

and

http://www.thelodownny.com/leslog/2012/04/bryan-zanisnik-on-hoarding-philip-roth-and-the-absurdity-of-failure.html

thank you.

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2. Sherrie Levine, FF Alumn, at Jablonka Pasquer Projects, Koln, Germany, thru June 20

Sherrie Levine | August Sander

Jablonka Pasquer Projects
March 16 - May 19, 2012
Lindenstr. 19 | 50674 Cologne
Tel +49 221 3976 0640
jablonkapasquerprojects@gmail.com

Galerie Priska Pasquer
March 16 - June 20, 2012
Albertusstr. 9-11 | 50667 Cologne
Tel +49 221 952 6313 | Fax +49.221.952 6373
galerie@priskapasquer.de | www.priskapasquer.de

Jablonka Galerie
March 16 - May 19, 2012
Lindenstr. 19 | 50674 Cologne
Tel +49 221 3976 0640
info@jablonkagalerie.com | www.jablonkagalerie.com

Jablonka Galerie and Galerie Priska Pasquer are pleased to present the exhibition "Sherrie Levine - August Sander". This exhibition involves direct interaction between the artists' works from both galleries. US artist Sherrie Levine created the series "After August Sander" specially for this exhibition.

Sherrie Levine, who has just presented a major exhibition in New York's Whitney Museum this winter, has - as a member of the Pictures Generation (with artists such as Cindy Sherman and Richard Prince) - generated much attention and controversy since the early 1980s with her works on modern art. Using an approach that she terms "appropriation", Sherrie Levine copied the works of artists such as Walker Evans, Karl Blossfeldt, Man Ray, El Lissitzky and Paul Cézanne, making them her own in the process. With reproductions of photographs, paintings and sculptures, Sherrie Levine calls into question central concepts of art such as originality, significance and autonomy of artistic works. At the same time, the artist confirms the aura of the appropriated works in the differences between her versions and the originals - particularly in the case of photographs.

Sherrie Levine's new series "After August Sander" is to be shown at Jablonka Pasquer Projects. The series consists of 18 prints of portrait photographs from August Sander's landmark portrait of society Menschen des 20. Jahrhunderts (People of the 20th Century). With this pioneering example of conceptual photography, August Sander (1876-1964) created a typology of people in the Weimar Republic. Sanders' work is characterised by the photographer's ability to capture the individuality of the protagonist while simultaneously presenting him or her as a typical representative of a specific social class and occupation. August Sander's influence remains strong to this day - without him, it is difficult to imagine such diverse photographers as Irving Penn or Bernd and Hilla Becher of the "Becher School".

The 18 photographs - half depicting men and half women - were selected by Sherrie Levine from a group of 36 photographs by August Sander, of which his son, Gunther Sander, made prints in the 1970s and 80s. The group of 36 works was put together by Gerd Sander, August Sander's grandson. These photographs are to be exhibited in the Jablonka Gallery. In the selection of 36 of his grandfather's photographs, Gerd Sander brought to the fore similarities and opposites of form and content in August Sander's work. These correlations were ignored by Sherrie Levine in her group of 18 works "After August Sander", which are based on the aforementioned series. In addition, her works are slightly blurred and vary somewhat in tonality.

In his essay "After August Sander", Kay Heymer describes Sherrie Levine's work as follows: "With her Sander pictures, Sherrie Levine underlines the great significance of this artist by means of a traditional homage. At the same time, however, her pictures are appropriations of existing pictures whose creator has no role to play. They have become her pictures - just as they become those of the beholders, or of the collectors who can purchase them as commodities. Sherrie Levine's art is one of heightened attention which - by means of the finely graduated differentiation that is her unmistakable trademark - examines, confirms or rejects the different stages of reality and authenticity in pictures. Those who venture into her world will discover a wealth of humour and sensuality there."

In addition to the "After August Sander" series, Jablonka Pasquer Projects will be showing Sherrie Levine's bronze bust "Phrenology Cranium" (2006). The bust, which was created based on a found template, shows a model used in the study of phrenology, a pseudoscience developed at the beginning of the 19th century that attempted to allocate mental attributes to specific topological areas of the brain.

In addition to landscape shots by August Sander, Galerie Priska Pasquer will be exhibiting two small-format sculpture groups and one painting. The two groups, each consisting of three bronze figures, were described by Sherrie Levine as "posses". With "The Three Muses" (2006) and "The Three Furies" (2006), which depict little pigs and little monsters respectively, the focal point is not "original versus copy", but the relationship between the figures.

These are joined by a large-scale painting from Levine's "Knot Paintings" series, in which Levine uses pieces of plywood in which 40 missing knots are replaced by wooden discs which she has painted monochrome. The references to the original works are less distinct here, but, as in all of Levine's works, the focus here is also on "sources, precedents, influences, inspirations and copies" (Adam D. Weinberg).

Sherrie Levine was born in Hazelton, Pennsylvania, in 1947. She studied at the University of Wisconsin and lives and works in New York and Santa Fe. Her works have been widely shown in group and individual exhibitions, the latter including the following: Wadsworth Atheneum Museum of Art, Hartford (1987), Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1988), San Francisco Museum of Modern Art (1991), Philadelphia Museum of Art (1993), Portikus, Frankfurt a. M. (1994), Museum of Contemporary Art, Los Angeles (1995), Kunstverein Hamburg (1999), The Getty Research Institute, Los Angeles (2001), Georgia O'Keeffe Museum, Santa Fe (2007) und Whitney Museum of American Art, New York (2011).

August Sander was born in the German town of Herdorf in 1876. Between 1904 and 1910, he worked as a photographer in Linz, Austria. After this, he moved to Cologne and opened a photo studio. He focused mainly on portrait photography, later also on architectural and landscape photography. In 1929, the book Antlitz der Zeit (Face of Our Time) was published, featuring a selection from Menschen des 20. Jahrhunderts (People of the 20th Century). During the Second World War, he moved to Kuchenhausen, in the Westerwald district of Germany. His Cologne studio was destroyed during an air raid in 1944. August Sander died in Cologne in 1964. His works have been showcased in many group and individual exhibitions, the latter including the following. Kölnischer Kunstverein, Cologne (1927), Photokina, Cologne (1951), Museum of Modern Art, New York (1969), The Art Institute of Chicago (1976), Kunstgewerbemuseum Zürich (1977), Philadelphia Museum of Art (1980), Pushkin Museum, Moskau (1994), Die Photographische Sammlung, Köln (2001), National Museum of Modern Art, Tokyo (2005), The J. Paul Getty Museum (2008), Fondation Henri Cartier-Bresson, Paris (2009), Tate Modern, London (2010), National Galleries Scotland, Edinburgh (2011).

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3. Jeanine Oleson, FF Alumn, at Exit Art, Manhattan, thru April 14

Hello!
I'm writing to let you know about events and a performance at Exit Art. We'll be covering some ground-- from time travel to epic operas to the end of the Mayan calendar! I think it'll be a great series of event, so please let me know if you have any questions or if you'd like readings for the Lovecraft/fourth dimension Book Club!
All the best,
Jeanine

EXIT ART - Collective/Performative show
475 10th Avenue @ 36th St., www.exitart.org
Week Three / April 10 - 14
Jeanine Oleson: (M)end Time

Oleson presents a series of talks/meetings/workshops that will engage in and analyze the mania surrounding post-apocalyptic anxieties in the collective psyche, but will also function as a series of consultations towards the making of a performance.

Tuesday, April 10
3:30-4:30 PM: H.P. Lovecraft Book Group with Paul Halpern
We'll be meeting to discuss Lovecraft's short story, "A Shadow out of Time," and an article on the fourth dimension, time travel, and anxiety as exemplified in this particular story written by Halpern, a respected physicist. (He was also a guest scientist on the Simpsons!) Please e-mail msjeanineoleson@gmail.com if you would like to attend and receive the readings in advance.

Wednesday, April 11
3-6 PM: Rehearsal: Anxiety Forum

Thursday, April 12
4:30-6 PM: Conversation with Cori Ellison, an opera dramaturg, about the last act of Götterdämmerung
Oleson and Ellison will meet to discuss ideas of apocalyptic redemption in the final act of the Wagner's Ring Cycle.

Friday, April 13
4:30-6 pm: 2012 Readiness Workshop with Anne Hall
Oleson hosts inaugural workshop for Hall's monthly 2012 Reading Group. Offerings include informational videos, seminal texts, and tools for exploring José Argüelles' Mayan Factor, Harmonic Convergence and Law of Time theories. Students will leave workshop with a personal toolkit including their galactic signature and a roadmap for the months ahead. Don't get left in the dust! Food will be served.

Saturday, April 14, 7pm
Final performance: A means to an end
An exercise in dimension, line, anxiety, and endings - as a theatrical form. Online forums, Wagner's operas, religion and, of course, art are re-combined in this community production. With Celeste Dupuy-Spencer, Allen Frame, Guadalupe Rosales, Amy Sadao, Nelson Santos, and Diwa Tamrong. Music by Rainy Orteca.

Biographies
Individual Speakers:

Dr. Paul Halpern is Professor of Physics at the University of the Sciences in Philadelphia. A prolific author, he has written twelve science books and dozens of articles. His interests range from space, time and higher dimensions to cultural aspects of science. The recipient of a Guggenheim Fellowship, Fulbright Scholarship, and an Athenaeum Literary Award, he has appeared on numerous television and radio programs. His books include: Countdown to Apocalypse: A Scientific Exploration of the End of the World; The Great Beyond: Higher Dimensions, Parallel Universes and the Extraordinary Search for a Theory of Everything; What's Science Ever Done for Us?: What The Simpsons Can Teach Us About Physics, Robots, Life, and the Universe; and most recently, Collider: The Search for the World's Smallest Particles.

Cori Ellison is a highly respected opera dramaturg who has worked on major productions around the world. She was at New York City Opera from 1997-2010, where she was responsible for the company's production dramaturgy(research), supertitles, and program book, as well as its adult outreach programs, curating both its pre-performance event series and creating its acclaimed "Opera Matters" series of collaborations with other noted New York cultural institutions. Ms. Ellison began her intense involvement in the development of contemporary American opera through New York City Opera's annual "VOX American Opera Showcase," where she was part of the selection team and worked with individual composers and librettists. For four consecutive seasons, she has served on the faculty of American Lyric Theatre's Composer Librettist Development Program, where she teaches operatic dramaturgy. In 2009, she was the first opera dramaturg invited to participate in the inaugural Yale Institute for Music Theatre. In addition, she is a sought-after private consultant to numerous composers and librettists. Ms. Ellison regularly appears as a commentator and Opera Quiz panelist on the Metropolitan Opera's radio broadcasts, and has been guest commentator on WNYC's "Soundcheck" and "The Tristan Mysteries", WQXR's "First Hearing", and other radio programs. She has contributed articles to publications including the New York Times, Opera News, Gramophone, BBC Music, and Ms, and to books including The New Grove Dictionary of Opera, The Compleat Mozart, and the Metropolitan Opera Guide to Opera on Video. She has also been a contributing writer for PBS's Metropolitan Opera Presents TV series.

Anne Hall's work explores communication between seemingly separated dimensions including humans and other animals, terrestrial and astral spaces and past and future time zones. Working primarily with photography, Hall uses everything from infrared heat sensitive film to holographic plates. In addition to her solo practice, she works collaboratively with the Society for the Advancement of Inflammatory Consciousness and also with fellow artist and love partner Guadalupe Rosales. In 2008 Anne Hall's first book of photographs, The Known World, was published by Capricious. Anne has been included in the NY Photo Festival and American Photography twice, was nominated for the Santa Fe Prize in Photography, and is published in LTTR and Documenta 12. This summer she will spend 3 weeks in Mexico at an artist residency exploring the prophesied 2012 cosmic exchange. Anne received her BA in Studio Art from Oberlin College 1997 and her MFA from RISD 2006. She has been a visiting artist at the following schools and museums: ICP, Parsons, Mass Art, The DeCordova Museum, Tufts and SCAD.
Anxiety Forum participants:

Celeste Dupuy-Spencer is a New York-based artist. She has an interdisciplinary practice with a primary focus on painting and video. Between 2007 and 2009 her work has been shown at LACE (Los Angeles), The Kitchen (New York), Centro Cultural Montehermoso (Vitoria-Gastiez, Spain), and Leslie Lohman Gallery (New York). Periodically she has been convinced to perform with/for Ridykeulous and others. Her work has appeared in the queer feminist journal LTTR.

Allen Frame lives in New York where he teaches photography at the School of Visual Arts, Pratt Institute, and the International Center of Photography. His book, Detour, a compilation of his photographs over a decade, was published by Kehrer Verlag Heidelberg in 2001. He is represented by Gitterman Gallery in New York. He is an Executive Producer of the soon-to-be-released feature film, Four, directed by Joshua Sanchez.

Guadalupe Rosales works and lives in Brooklyn, New York and is currently a fellow at Q/A/M ( http://queerartmentorship.org/ ). Her most recent works take the form of installation, drawing, sculpture, costuming and collaboration.

Amy Sadao is the Executive Director of Visual AIDS. She lives in Brooklyn and Philadelphia.

Nelson Santos is the Associate Director of Visual AIDS. He's an artist who loves disco and glitter, and his long-time friend, Jeanine.
Diwa Tamrong was born on Pearl Harbor Day in 1987. She is an artist, assistant and babysitter living and working in Brooklyn. In her free time she enjoys long walks in Prospect Park, cooking, camping, hiking, learning about plants, making terrariums and playing with Sculpey. Diwa would really like to spend some time living in the mountains before she is thirty.
And others!

Music composition (performance):
Rainy Orteca is an internationally known musician, sound designer, DJ and composer based in New York. Rainy attended Smith College, The School of VISUAL ARTS and SUNY at Empire State. Her work has appeared in and been written about been written about in Time Out London, GQ magazine, The London Times, The Independent 2008. Recently, she took part in the Feedback: VVAVE show at Recess Art Gallery in Tribeca where she used Herman Hesse's Steppenwolf as a psychological framing device and combined audio clips from Sylvia Plath, Jacqueline Kennedy, Edith Beale, William Burroughs, and BBC sound FX. The piece explores Mid-Atlantic accents, private versus public personas and diegetic sound. As a performing musician, she has worked with notable artists such as: Sarah Silverman, Antony and the Johnsons, Lou Reed, Divinyls, Nina Persson, Maggie Cheung, Lesley Gore, Mascott and Cat Power. In 2008, operating under the moniker of Dead Air, she released an album on the UK label Reveal Records which features songs with "...scatter gun delivery, trash aesthetic and electro-analogue tension..." (The Times of London).

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4. Lisa Moren, FF Alumn, in Baltimore City Paper, now online

City Paper's Andrea Appleton says:
Go see this exhibition. Take the kids. It's a unique opportunity... It's a show that reawakens one's sense of wonder, that thing that bloomed when you first opened your favorite children's book, or learned there were such things as shooting stars.

Read more:
http://citypaper.com/arts/stage/em-command-z-artists-working-with-phenomena-and-technology-em-1.1294366

Lisa Moren
CAHSS Research Fellow
The Drawing Center Viewing Program
lisamoren.net

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5. Alvin Eng, FF Alumn, at Yale China Association, New Haven, CT, April 10

Yale-China Association
FIRESIDE CHATS: Conversations that consider China's heart and hinterland

Our Town: China/USA

Alvin Eng
Adjunct Professor, Department of Creative Writing, Fordham University
Fulbright Specialist in Theatre/U.S. Studies, 2010-2015

Tuesday, April 10, 2012
4:30 PM
Yale-China Association
442 Temple Street
New Haven, CT

Refreshments will be served

Please RSVP by Monday, April 9 to james.fleishman@yale.edu or 203-432-0884 or click here to RSVP online.

Alvin Eng is a playwright, performer, and educator. In collaboration with his wife, director/actress Wendy Wasdahl, Eng conceived and directed "Our Town: China/USA," a devised theatre program for a Fulbright Specialist residency at City University of Hong Kong during summer 2011. CityU students studied "Our Town," the seminal Americana play by Yale alumnus Thornton Wilder, then wrote and performed their own English language plays. The plays' themes were based on interviews the students conducted with family, friends and CityU faculty. The students then structured the plays in response to "Our Town," which was influenced, in part, by the Chinese culture and theatre absorbed by Wilder during part of his childhood in Hong Kong and Shanghai, where his father was U.S. Counsel General in the 1910s. The minimalist presentation style of Peking opera strongly influenced the structure and sensibility of "Our Town." The students' final project, "Hong Kong Time Capsule 2011," was an "off-book" full production of original English language plays written by the CityU students. Last summer, Eng also had the honor of performing his memoir monologue, "The Last Emperor of Flushing," at Xiazhou People's Hall, Guangzhou, in his family's ancestral Guangdong province.

www.alvineng.com

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6. Maria the Korean Bride, FF Alumn, at A.I.R. Gallery, Brooklyn, April 21, and more

Kick Off Events: Half the Sky Festival
Kick-off panel discussion featuring New York based folklore, anthropology scholars and Maria the Korean Bride. FREE! For more info click here. http://www.brooklynartscouncil.org/documents/1907
Saturday, April 21, 2-4 p.m., Reception following immediately after, 4-6 p.m.
Location: A.I.R. Gallery / 111 Front Street, Suite 228 (DUMBO), NYC
If you want to know more about Maria Yoon's work (aka Maria the Korean Bride), FF Alumn, please visit her here:
http://www.kickstarter.com/projects/thekoreanbride/maria-the-korean-bride-50-weddings-in-50-states

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7. Claudia DeMonte, FF Alumn, at June Kelly Gallery, Manhattan, opening April 12

Claudia DeMonte "ABUNDANCE" ,
opening, Thurs, April 12, 6-8,
June Kelly Gallery
166 Mercer Street, NY,NY 10012
April 12-May 15th, 2012

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8. Yoko Inoue, FF Alumn, at Smack Mellon, Brooklyn, thru April 22

Yoko Inoue
Mandala Flea Market Mutants:
Pop Protocol and the Seven
Transformations of Good-luck
National Defense Cats

Exhibition Dates:
March 17- April 22

Yoko Inoue's latest multimedia installation Mandala Flea Market Mutants: Pop Protocol and the Seven Transformations of Good-luck National Defense Cats transforms the front gallery into a maze of vending booths derived from traditional Japanese temple fairs. Inoue's subversive marketplace installation links aspects of Japanese sub, pop and political culture through a fantastic assortment of hybridized objects, many hand cast from mass produced items found in multicultural urban markets. Inoue will be on site for the duration of the exhibition, transforming the marketplace even further into a "thinking place" not limited to commerce.

Smack Mellon Gallery
92 Plymouth Street
Brooklyn, NY 11201
http://smackmellon.org/index.php/exhibitions/upcoming1/

I attempt to poetically elucidate the relationships between objects and humans in the context of the intricately interdependent, contemporary, multi-cultural environment. I consider the confluence of different cultures in the market place, paying attention to such aspect as product routes, specific cultural derivations of products, and the influence of globalization and free trade on traditional culture. In my installation art, I use the ceramic medium, because of its cultural universality, to seek ways of linking contemporary objects to their history, lost cultural origins and displaced meanings.

Mandala Flea Market Mutants: Pop Protocol and the Seven Transformations of Good-luck National Defense Cats takes the form of a multi-disciplinary installation that affects and aestheticize the appearances and mechanics of a marketplace, materially consisting of excessive accumulations of banal objects, commoditized sacred figures or good luck icons that I individually hand cast in porcelain and stoneware and manipulate.

This project is derived from my research on the historical and cultural implications of the ubiquitous flea markets in the compound of To-ji temple and Kitano shrine in Kyoto, that are held on specific days for receiving blessings or special divine favors from particular deities. Here, within the confluence of the sacred and profane, people practice the rituals of commerce and barter with deities. I explore the hidden commonality, whether a mystic belief, supernatural power or a superstition, that exists between traditional cultural iconography and that of pop and subculture in Japan. I question what remains within an object that makes it possible for us to recognize ourselves in it and reclaim it as part of our own identity or in a broader sense, our cultural identity.

Inoue is a multi-disciplinary artist whose work explores the commoditization of cultural values and assimilation and identity issues in the form of installation and public intervention performance art. Originally from Kyoto, Japan, Inoue earned an MFA from Hunter College. Her work has been shown at Brooklyn Museum, Sculpture Center, Rubin Museum, Momenta Art and Art in General in New York and at other international and national venues. She has received Guggenheim Fellowship, The Joan Mitchell Foundation Painters and Sculptors Grant, NYFA Fellowship in Sculpture and Cross Disciplinary/Performative Work, Tides Foundation Lambent Fellowship, Jerome Foundation Travel and Study Grant, Franklin Furnace Fund, GAPS 9-11 Fund from LMCC and other grants. Most recently she received the Anonymous Was A Woman Award. Residencies include Skowhegan, LMCC Workspace, Smack Mellon, .ekwc in The Netherlands, Civitella Ranieri in Italy and Sacatar Foundation in Brazil. Inoue is awarded the LMCC Paris Residency at Cité Internationale des Arts from May to October, 2012.

Dear everyone,

I hope to see you at the gallery, before the exhibition closes on Sunday, April 22nd.

Best regards,
Yoko

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9. Frank Moore, FF Alumn, now online at www.sashacagen.com

Sasha Cagen (author of Quirkyalone and To-Do List, and blogger for Huffington Post) reviews Frank Moore's performance "The Uncomfortable Zones Of Fun" December 2011:

Uncomfortable Zones of Fun
(improv with my computer or my night with frank moore) December 17, 2011

http://sashacagen.com/uncategorized/improv-with-my-computer-or-my-night-with-frank-moore/

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10. Claes Oldenburg, Ed Ruscha, Cindy Sherman, FF Alumns, at Ikon Ltd., Santa Monica, CA, thru April 28

Works by John Wesley, Cindy Sherman, Claes Oldenburg, Richard Pettibone, Ed Ruscha and others.

until April 28th, 2012
Current exhibition can be viewed at the following link:
http://ikonltd.com/current/

Ikon Ltd.
Bergamot Station, Gallery G4
2525 Michigan Ave.
Santa Monica, CA 90404
(310) 828-6629
http://ikonltd.com/

Tues. - Fri. 11 - 5pm
Saturday 12 - 5pm

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11. Bob Goldberg, FF Alumn, at Dixon Place, Manhattan, April 20

This time around we'll be doing something a little different.
Smaller group (Bob and Mark on accordions, Greg on Percussion), which will give us a chance to stretch out and explore some new things.
New tunes! Old tunes played new ways! Hope to see you there!

The Lounge at Dixon Place
161A Chrystie Street, between Rivington and Delancey.
Friday April 20th, 7:30 PM
Only $5.00 Cheap!

http://www.dixonplace.org/

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
Greg Burrows percussion

www.reverbnation.com/famousaccordions

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12. Virginia Maksymowicz, FF Alumn, at BronxArtSpace, NY, thru April 28

Virginia Maksymowicz, FF Alumn, is exhibiting work at BronxArtSpace, NY, thru April 28. for complete details please visit www.bronxartspace.com

Thank you.

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13. Nora York, FF Alumn, at Joe's Pub, Manhattan, April 29

Nora York, to directs a cast of thirteen students from the Department of Drama of the NYU/Tisch School of the Arts in the cabaret, "No Time Like the Present." on Sunday April 29th 7pm. Joe's Pub 475 Lafayette St. NYNY.
With music direction by Jamie Lawrence, "No Time Like the Present" is a playful exploration of the phenomenon that is Facebook, examining the virtual loves, losses, stalkings, and triumphs of the digitally connected world.
www.joepub.com for tickets.

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14. Lorraine O'Grady, FF Alumn, at NYU, Manhattan, April 25

PORTRAIT OF THE ARTIST: LORRAINE O'GRADY
Wednesday, April 25, 6:30 pm
NYU Steinhardt School of Culture, Education, and Human Development
Einstein Auditorium, Barney Building, 34 Stuyvesant Street [map]
FREE. For reservations, email RSVP@performa-arts.org
Join Performa for Portrait of the Artist: Lorraine O'Grady, the first in a new series of public events presented by the Performa Institute, a platform for the research and educational components of Performa that focuses on exploring the historical context and significance of artists who work across a broad range of disciplines, from the 1960s to the present. The inaugural event will examine the remarkable work and life of artist Lorraine O'Grady in the context of feminism, politics, and art of the 1980s and today. Kellie Jones, Associate Professor in the Department of Art History and Archaeology at Columbia University, will present an in-depth look at the aritst followed by a conversation with O'Grady.
For more information, click here.
The Performa Institute is supported in part by Lambent Foundation Fund of Tides Foundation and the NYU Steinhardt Department of Art and Art Professions.

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15. Jaime Davidovich, FF Alumn, at MediaNoche, Manhattan, opening April 19

Re: PLAY by Jaime Davidovich opens on April 19 form 6-8 pm at Media Noche in Manhattan and continues thru June 9 with an artist's talk on May 12. for complete information please visit www.medianoche.us More below...

Taking its cue from the hobby horse and the Cabaret Voltaire, Re: PLAY references the video work of Jaime Davidovich as a whimsical challenge to the conventions of television and painting. Beginning with one of his the earliest works Road (1972), the exhibition courses through to his latest Urban Landscape (2011) that melds technology with painting.

The tension between painting and video, the emerging art form at the time, is visibly palpable. While not a retrospective, Re: PLAY re-examines key works in light of the artist's preoccupation with space and subjectivity that transgresses the domain of each medium. According to Judith Escalona, Curator and Director of MediaNoche: "Davidovich uses one art form to push the boundaries of the other in a kind of dialogue or dance that can be argumentative at times."

Just as Dada artists in the Cabaret Voltaire of the 1920's were kicking bourgeois complacency, artists on Second Avenue and south of Houston Street in the 1960's were defying the status quo. They were seeking new channels of expression, breaking away from museums and galleries that catered to the elite and were commercially driven. These artists wanted to de-institutionalize art, making it accessible to a broader public. They took to the streets, displaying work on billboards, the sides of buildings, and storefronts. Jaime Davidovich had arrived in New York from Buenos Aires in 1963 and fit right in. Davidovich is emphatic: "Video fit perfectly into this kind of art outside the mainstream because video when it was first invented was never shown in art galleries or institutions - was not even considered art."

The advent of public access television inevitably drew Davidovich to it as an alternative electronic space where he created the Live! Show in 1979. A cross between video art and the Ed Sullivan show, the weekly half-hour program gave the alternative art scene a television presence. In serious play, Davidovich became the tv persona Dr. Videovich, prescribing viewers an antidote for broadcast television. Several episodes of the Live! Show are available for viewing at the gallery and on Youtube.

Artist Bio
Jaime Davidovich is the recipient of three National Endowment for the Arts Visual Arts Fellowships, for the years 1978, 1984 and 1990; and two grant awards from the Creative Artists Public Service Program, New York State Council on the Arts, for 1975 and 1982.

Solo exhibitions include a major retrospective at ARTIUM, Vitoria-Gasteiz, Spain in late 2010; Cabinet, Brooklyn, New York; CaixaForum, Barcelona, Spain; MAMBA - Museo de Arte Moderno de Buenos Aires; vanGuardia Bilbao, Spain; The Phatory Gallery, New York, and the American Museum of the Moving Image, Astoria, New York, which presented a retrospective of The Live! Show in 1989. Davidovich has participated in a wide range of group exhibitions, at institutions such as MUMOK - Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria; J. Paul Getty Museum, Los Angeles; 2007 Bienal de São Paulo-Valencia, Brazil; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Whitney Museum of American Art, New York; ARS Electronica, Linz, Austria; Long Beach Museum of Art, California; 1 Bienal de la Habana, Cuba; Video and Television Festival, Maastricht, Netherlands; The Kitchen, New York; Louisiana Museum of Modern Art, Humlebæk, Denmark; The Museum of Modern Art, New York; and the Whitney Museum of American Art, New York.

Jaime Davidovich was educated at the National College of Buenos Aires; the University of Uruguay, and the School of Visual Arts, New York. He lives in New York.

About MediaNoche
MediaNoche is the place where art, technology and community converge. We offer artists working in new media exhibition space and residencies in order to provoke a dialogue that blurs all lines of marginality and alterity. Unique among art and technology groups, MediaNoche is directly linked to the oldest Latino community of New York City, Spanish Harlem, and has showcased a roster of local and international new media artists.

MediaNoche is a project of PRdream.com and is supported in part with funding from the New York State Council of the Arts, the New York City Department of Cultural Affairs and private donors. Special thanks: Hugh Mandeville, Kenneth Bowler, Juan Moreno, Carlos Diaz, Christopher Dascher, Joann Arroyo, Colette Hughes, Maria Catoni, Vanessa Hernandez, William Laziza, Robert Isaacson, Gus Rosado and Operation Fightback Inc.

Friend us on Facebook: www.facebook.com/MediaNoche.us

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16. Rob Andrews, FF Alumn, at Grace Exhibition Space, Brooklyn, April 11

GRACE EXHIBITION SPACE
840 BROADWAY, 2nd Floor - Brooklyn
(646) 578-3402
gracexhibitionspace@yahoo.com
www.grace-exhibition-space.com
EVALUATING THE CURRENT: Artist Presentation and discussion with Marni Kotak and Rob Andrews

Wednesday, April 11
7-9 pm
Free

Marni Kotak [NYC]

Marni Kotak is a Brooklyn-based performance artist who creates multimedia works in which she presents her everyday life as art. Referring to her daily activities, life experiences and personal milestones as Found Performances, she has publicly performed everything from giving birth, to attending her grandfather's funeral, to being forced to wear a dunce cap on a third grade field trip, to losing her virginity in a glittery blue Plymouth Acclaim. She recently garnered worldwide attention for her Birth of Baby X exhibition in which she gave birth to her first son as a live performance at Microscope Gallery. Kotakâ€(tm)s work has been featured in PAJ: A Journal of Performance and Art, the New York Times, the Village Voice, NY Arts, New York Press, Art New England, The Brooklyn Rail, Time Out Chicago and more. She has performed and/or exhibited both nationally and internationally. She received a BA from Bard College and an MFA from Brooklyn College. She is represented by Microscope Gallery in Brooklyn, New York: www.microscopegallery.com.

Rob Andrews [NYC]

Rob Andrews lives and works in Brooklyn. He has shown work at the Museum of Modern Art, Exit Art, Grace Exhibition Space, and is represented by English Kills Art Gallery. He recently enacted mass group feet cleanings in Union Square as part of Art in Odd Places, and in Bitola, Macedonia as part of the Exchange Radical Moments Live Art Festival on 11.11.11. He is a 2010-11 Franklin Furnace Fund for Performance Art recipient.

artist statement:

I am drawn to performance as one of our oldest forms of storytelling. The fear. Blood and spit--the susurration of gain and loss beyond language, beyond objects. I'm afraid we'll lose this art, or it will change so much we'll forget the stink of each other.

I enact rituals and tell stories using my body and the bodies of others. If stories aren't re-told and distorted, they petrify. I steal from tradition, religious practice, and from my collaborators and get their stories wrong on purpose in order to make them right in another way.

My practice involves personal intervention into the muck of inherited mythology, public actions, and volunteer and forced collaborations. I try to join hands and muddy the waters we stand in because, after all, they are our waters.

Rob Andrews www.andrewsautomatic.com

ABOUT GRACE EXHIBITION SPACE for PERFORMANCE ART

Patricia Milder, The Brooklyn Rail (May, 2011)

"Through such intimate encounters between performance groups and their guests, they could follow in the spirit of Yoko Ono's Chamber Street loft or the Surrealist soirees of Paris."
Warren Fry, The Brooklyn Rail (August, 2007)

Please read the Interview with us SPECIALIZED VISION Curating Grace Exhibition Space in the Brooklyn Rail: brooklynrail.org/2011/05/artseen/specialized-vision-curating-grace-exhibition-space">Grace Exhibition Space, since 2006, is devoted exclusively to Performance Art. We offer an opportunity to experience visceral and challenging performance works by the current generation of international performance artists, whether emerging, mid career or established.

Being a Brooklyn loft, our events are presented on the floor, not on a stage, dissolving the boundary between artist and viewer. This is how performance art is meant to be experienced and our mission is the glorification of performance art.

"Grace Exhibition Space is the sole gallery in this city that shows specifically, in its most intentionally narrow definition, Performance Art."
Patricia Milder, The Brooklyn Rail (May, 2011)

"Through such intimate encounters between performance groups and their guests, they could follow in the spirit of Yoko Ono's Chamber Street loft or the Surrealist soirees of Paris."
Warren Fry, The Brooklyn Rail (August, 2007)

Please read the Interview with us SPECIALIZED VISION Curating Grace Exhibition Space in the Brooklyn Rail: brooklynrail.org/2011/05/artseen/specialized-vision-curating-grace-exhibition-space

DIRECTIONS:
J-M-Z train to Flushing or Myrtle
& walk 3 blocks east from Flushing,
or 3 blocks west from Myrtle
to
#840 Broadway, 2nd Floor (btwn. Ellery St. & Park Ave.)
entrance left of liquor store - ring top buzzer
call for more directions: (646) 578-3402

Our mission is the glorification of performance art.

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17. Marisa Jahn, FF Alumn, at Walker Art Center, Minneapolis, MN, April 13

\BOOK & PLAYING CARD LAUNCH\
Pro+agonist: The Art of Opposition
Co-commissioned by Walker Art Center and Northern Lights.mn
Launch: Friday April 13, 2012 (10 am)
Walker Art Center, William and Nadine McGuire Theater
1750 Hennepin Ave., Minneapolis, MN 55403 FREE

Editor: Marisa Jahn
Contributors: Princeton scholars D. Graham Burnett + Cornel West; design theorist Carl DiSalvo; theorist of postmodernity Jean-Francois Lyotard; Chantal Mouffe, author of 'The Return of the Political' and co-author with Ernesto Laclau of 'Hegemony and Socialist Strategy: Towards a Radical Democratic Politics'; the entrepreneur John Seely Brown; Coleson Whitehead, Pulitzer finalist and author of 'The Intuitionist' and 'Sag Harbor;' media writer Anjum Asharia; new media artist Warren Sack; artist and activist Steve Shada; artist and theorist Mark Shepard; Doris Sommer, author of 'Bilingual Aesthetics'; and McKenzie Wark, author of 'Hacker Manifesto' and 'Gamer Theory.'

Edited and designed by Marisa Jahn, Pro+agonist: The Art of Opposition is a book and set of playing cards that explore the productive possibilities of 'agonism,' or a relationship built on mutual incitement and struggle. Designed in black and blue - the colors of a good bruise - Pro+agonist brings together writings by interdisciplinary artists, scientists, CEO's, crackpots, war strategists, psychotherapists, and philosophers who raise questions about the importance of political dissent, the function of discord in discourse, the rules of escalating conflict, the roles of parasites within systems, the ins and outs of concord and congress, and more. The book's introduction, written as a disagreement between a cast of fictional characters, is (arguably) more stimulating than if it were written from a single, unified perspective. Readers will emerge with a greater appreciation for duking it out and taking it to the streets.

p.s. - There's a half-inch hole running through the center of both the book and the playing cards so that you can peek through, frame the Other, and keep them with you as you read along.

Book Launch:
Marisa Jahn will launch and present 'Pro+agonist' as a component of the 3 day symposium,
Discourse and Discord: Architecture of Agonism from the Kitchen Table to the City Street,
co-presented by Northern Lights.mn and The Walker Center. Other presenters at the symposium include: Carl DiSalvo, Mark Shepard, Warren Sack, Krzysztof Wodiczko, John Rajchman, and the Prairie Lady Fire Choir.

Download the book:
http://www.rev-it.org/projects/pro+agonist.htm

REV- is a non-profit organization that furthers socially-engaged art, design, and pedagogy. REV- produces projects that fuse disciplines, foster diversity, and vary in form (workshops, publications, exhibitions, design objects, etc.). Engaged with different communities and groups, REV-'s projects involve collaborative production, resource-sharing, and a commitment to the process as political gesture. The organization derives its name from both the colloquial expression "to rev" a vehicle and the prefix "rev-" which means to turn-as in, revolver, revolution, revolt, revere, irreverent, etc.

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18. G.H. Hovagimyan, FF Alumn, at 319 Scholes Street, Brooklyn, April 13

SexFoodDeath
The Semiology of Art Against Nature, seen as an Ontological Trajectory, Mapping the Representation of Nature vis Art.

A Panel Discussion @ 319 Scholes Street, Brooklyn, NY 11206

April 13th, 2012
Doors open at 7pm. Panel discussion starts at 8pm Followed by a cocktail reception with the panelists Free admission

Sex-Food-Death is a panel discussion organized by 319 Scholes and Artists Meeting, a New York City based collective. The Panel will explore a range of creative tendencies that presage the coming integration of biology, science, art, research, and post-human critique.

A multidisciplinary team of panelists from the L'Institut d'Arts Invasifs, working in conjunction with researchers from University of Life Sciences and the Institute for Molecular Life Sciences, will discuss their controversial research on Biostallations, an emerging creative practice situated in active theaters of war. This work has been quietly generating controversy among European bio-ethicists and religious leaders, due to its use of human subjects, genetic interventions, drone technology, and bizarre academic ritual celebrations. While the group of artists undertaking this work chooses to remain underground, their institutional research partners have agreed to speak out for the first time, amid accusations of European-wide censorship and a media blackout.

Sex-Food-Death will illuminate new and potentially groundbreaking creative practices, while proposing techniques for collapsing the boundaries between contemporary theories of bio-art and art, art and nature, nature and bio-art. These multiparous fields of generative practice existing within both microscopic and socio-cultural domains will soon have a disrupting effect on cultural production as we have come to understand it.

"Simultaneously, the so-called ethical constraints of Western Civilization collapse around the reality of the flexible genome. The tools of war unleashed by the scientific community are affording us with a tremendous opportunity to map the exigent patterns of the bio-chemical experience of fear, and to develop protocols, heuristics, and experimental trials, which heighten, modify and rework an individual's range of experience."

"As World Society produces ever more regenerative social features, and as its formerly static definitions and self-descriptions clash with their own circular perceptions of their continued existence-contemporary artists must either adapt to this new paradigm, or prepare for extinction. It is only through the continual creation of self-producing/other-producing virtual organisms-that art can survive the coming singularity. Biostallations are but the opening move in this unfolding post-information domain."

"The object is over, dead, finished. The virtual is soon to follow."
Dr. Novotny, addressing a recent gathering of paleo-capitalists at the FLINS conference, Brugge, EU.

With Ivan Drajic (Croatia), Martin Savernak, (Czeck Republic), Dr. Ava Novotny (Czeck Republic), Dr. Branko Cerny (Croatia), Jan Nemec (Croatia, ), Raz Johansen (Altai Republic). Moderated by William Gregory

A visual art exhibition and will accompany the panel discussion.

319 Scholes supports digital arts and experimentation through exhibitions, lectures, panels, participatory workshops, and live performances. We use a non-disciplinary approach to examine technology and its effects on our communities, relationships, and the body. Grounded in the belief that art is the best way to navigate the potential of networked culture, we aim to cultivate challenging and experiential modes of engaging with new media. Established in 2009, 319 Scholes is run by artists and a core group of collaborators, operating out of a renovated warehouse in Bushwick, Brooklyn.

http://319scholes.org

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19. Carolee Schneemann, FF Alumn, at 92YTribeca, Manhattan, April 11, and more

Carolee's Cats
This Wednesday April 11th, 7:30pm at the 92Y Tribeca
(92YTribeca, 200 Hudson Street)
AVANT-GARDE PIONEERS: George Kuchar & Carolee Schneemann
present a film program chronicling their strong feline affinities.
Schneemann's presentations include: Mysteries of the Pussies; the rarely
screened Vesper's Pool; with sections of Kitch's Last Meal
Abigail Child will moderate a post-screening discussion.
http://flahertyseminar.org/flaherty-nyc/avant-garde-pioneers-george-kuchar-carolee-schneemann/

and

P.P.O.W is proud to announce, Carolee Schneemann's "Up to and Including Her Limits" 1973-76 installation has been acquired for the permanent collection of the Museum of Modern Art. The work was also exhibited at MoMA in On Line: Drawing Through the Twentieth Century curated by Connie Butler which won Best Thematic Museum Exhibition in New York, awarded by the International Association of Art Critics this month.

Schneemann has been awarded a Ono Lennon Courage Awards for 2012. Ono created the award in 2009 to recognize artists, musicians, collectors, curators, writers - who exemplfy her vision of courage. A USA Rockefeller grant recognizes Schneeman for her pioneering work of feminist and media art.

Recently, The Images Film Festival in Toronto previewed Breaking the Frame; this feature film directed by Marielle Nitoslawska is a comprehensive portrait of the groundbreaking multidisciplinary artwork of Schneemann. Distribution of the film is forthcoming.

On Wednesday, April 11 at 7:30pm the 92YTribeca will screen Mysteries of the Pussies, 1998-2010 and Kitch's Last Meal, 1973-76 in the presentation Avant-garde Pioneers: George Kuchar and Carolee Schneemann.

Schneemann's "Body Collage" (1968) will be screened on Saturday, April 21st at 5:30pm as a part of the Tribeca Film Festival. The film will be shown at SVA theater 2 on 333 West 23rd Street and will include a post-screening discussion with the artist.

Carolee Schneemann: Within and Beyond the Premises, curated by Brian Wallace, is closing it's tour at the Krannert Art Museum in partnership with The Henry Art Gallery, University of Washington. The exhibition was first organized by and presented at the Samuel Dorsky Museum of Art, State University of New York at New Paltz from February-July 2010. This retrospective exhibition presents Schneemann's career from her earliest work to her most recent investigations. The exhibition includes paintings, drawings, photography and installation.

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20. Pablo Helguera, FF Alumn, at Museo del Palacio de Bellas Artes, Mexico City, opening April 20

Dear Friends,

I am very excited to share with you that I will having a solo exhibition at the Museo del Palacio de Bellas Artes in Mexico City.
The project is the result of years of research on Bellas Artes.
The exhibition will open on April 20th, (during the Zona Maco art fair). If you are in town, I would love to see you at the opening.

More information can be found here:

http://pablohelguera.net/2012/04/quodlibet-bellas-artes-2012/

all my best
Pablo
studio:
323 W 39th street suite 613
New York, NY 10018
www.pablohelguera.net

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21. Chin Chih Yang, FF Fund recipient 2011-12, New York Foundation for the Arts interview

Dear Friends

How are you?

I would like to share this NYFA interview with you.

Best,

Chin Chih

NYFA speaks with Chin Chih Yang
2011 Fellow in Digital/Electronic Arts

Chin Chih Yang
NYFA Fellow Digital/Electronic Arts, 2011

Hello Chin Chih, thank you so much for speaking with us. Can you tell us about what you're currently working on and what's coming up for you?

Yes, I am working on several projects. "Kill Me or Change" is an interactive performance art installation that will happen at the Queens Museum of Art. Outside the museum on July 28 and 29, 2012, 30,000 aluminum beverage cans will be progressively dropped on my head from a crane above, ultimately burying me under a mountain of shiny, colorful, and ubiquitous aluminum waste. As a preview, on April 22, Earth Day, I will hang a bundle of 1,000 cans suspended by netting above the heads of museum visitors, who can "adopt" the cans that will be used by signing a can or writing comments, and they can also attend an all-day workshop with me and make their own can artworks. "Kill Me or Change" attempts to highlight the impact of personal consumption on the environment, and the importance of recycling. "Kill Me or Change" is supported by Franklin Furnace, the Lower Manhattan Cultural Council, Passport to Taiwan, Wassaic Project, Taiwan Tzu-Chi Foundation, Godwin-Ternbach Museum-Queens College, the New York Foundation for the Arts, and the Queens Museum.

Second, my work is included in a group exhibition, "Pith Paper," at the Hsinchu Culture Bureau in Taiwan through May 16 and I have a sculpture/installation in "Mathematics of Light" at the Asian Arts Gallery, Towson University, Towson, MD from June 29 to 31st. The gallery writes about this piece: "Utilizing LED lights and light projections, "Mathematics of Light" is a sculpture/installation made of beverage cans and other recyclable materials, which signals a conservation aesthetic in a society that is, for the most part, dedicated to waste. Not only do the cans have aesthetic features, such as shape, color, texture, and a particular relationship to light, they are themselves representations of what might have gone on to pollute the planet, had they not been put to more creative ends. Essential to "Mathematics of Light" is the use of modern and emergent technologies, enabling the artist to create an immersive environment that participants can interact with and even move about in."

I also have solo show opening at FiveMyles Gallery in Brooklyn on May 5, closing June 6.

Your work speaks to both ecological and psychological catastrophe. How are these related for you?

I was born in Taiwan and grew up on a farm in the countryside, which gave me an understanding and appreciation of nature and the environment. When I was a young boy, my grandfather told us that Chang Kai-shek had killed many Taiwanese people, and for many years people were scared and could not speak freely. When I was in the Taiwanese Army, I was made to work very hard with little rest, and suffered a minor stroke with partial facial paralysis as a result. Martial law in Taiwan was implemented in 1949 and not lifted until 1987, a period of 38 years, the longest imposition of martial law anywhere in the world.

Also, in New York, the events of 9-11 at the World Trade Center occurred only a few blocks from where I was living, which was a traumatic experience for my family.

How does participation by audiences and spectators change from a gallery or performance-space context to a public context?

A gallery is an enclosed space, which is very different from an open, public space. For many years I've been in the art field, and I've always tried to figure out how exhibitions could be improved. I think the gallery space is good for many projects, but not for all projects.

An indoor gallery space always reduces audience interaction to some extent, because viewers have to make their way to a particular space to see a work. I try to set things up so that people can interact naturally with my work, whether in a gallery or an unmarked public setting-to best reach people and communicate something.

Can you tell us about your process-do you usually conceive of your actions and performances entirely in your mind first, or do you discover them through experimentation?

My daily experiences inform how I conceive my work, whether performance or installation, or some melding of the two. Interactions and conversations with others generally shape the ideas expressed in my work. Also, if something really touches me in the news, it really motivates me to do something-especially when tragic situations befall small children.

What is your studio or workspace like?

I used to have a very good studio for a while, but because my work is changing all the time and I change my way using the space, -but also my art process also is changing. In a way, everywhere I go is my studio.

I have small spaces in three different locations: Queens, Manhattan, and upstate NY. I don't have a big studio-I just use my living or any spaces as my studio; and I also share studio space with other people. But I've found this to be an interesting way to work. I'm a living artist, whose art and life overlap.

Who or what is influencing you most strongly at the moment?

I'm not really especially influenced by a particular person or "master." I don't want to live in anyone's shadow. I am wholly influenced by the particulars of our society, however. Especially the tragic aspects, which my works seeks to comment on.

I grew up as a farmer in Taiwan, and from that I came to love nature. In a way, nature has always been my primary source of inspiration and influence. Not only nature's tender aspects, but it's frightful ones, too. What influences me most now is injustice. How are we going to solve this problem? I think about this all the time. How can we make our society just? It's good to think and talk about these things. I always say I don't believe in religion-but I also think the selfishness in our hearts is a source of problems. These things daily influence me. I am always asking myself: How can I make art that improves things?

What is the biggest challenge that you face, ideologically, economically, aesthetically, or otherwise?

Ideologically, the biggest challenge for me is to communicate through art to as many people as possible.

Of all the billions of people on Earth, I only know a handful. But I strive to communicate truly, from my heart. I feel the effects of globalization, and our society, financial system, and economic structure are still not sufficiently advanced to catch up to the positive potential in our technologies. Economic structures influence our natural environment, because of pollution-mainly due to corrupt businesspeople indifferent to the damage to nature and human health.

We need to figure out a way to protect our natural life and our society, instead of perpetuating these wrong priorities-material production over quality of life.

Not everyone was lucky enough to have attended your Artists & Audiences Exchange talk at Harvestworks this Spring. Will you be so kind as to share some of your ideas about The Use and Abuse of Technology in the Arts in written form?

I talked about what humans will become if modified by technological devices. Our future bodies will probably be significantly modified by technical appendages. The audience and I discussed the potential of the human body, and the potential of technology as a fully integrated means of communication.

Technology depends on how you use it, and for me, it's most ideally used for meaningful ends-not just as a device or gimmick, but a tool toward the communication of a message. Too often I see this lacking in artworks.

How did the NYFA Fellowship affect you? What did it go towards?

I have been very happy to have the NYFA fellowship, which enabled me to do a lot of work on my projects. For the "Broken Mind" project I was able to buy more equipment, like a small projector; and for my new project "Building a future human" I bought a voice tone creator; for "Kill Me or Change" I procured production material like fish netting and more; I was able to buy a better camera to document my projects; and I also was enabled to do lots of research. I also able to send my kids back to Taiwan to create the project I call "Family Value." The NYFA Fellowship has really helped me to improve my art career, and do the art projects I want to do.

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22. Adrianne Wortzel, FF Alumn, selected for ISEA2012 Scientists/Artists Research Collaboration

Scientists / Artists Research Collaborations (SARC)

The Scientists/Artists Research Collaborations (SARC) initiative, being piloted as a featured project for ISEA2012 www.isea2012.org , announces its first round of artists selected for residencies and collaborations with scientists at Los Alamos and Sandia National Laboratories.

The five artists, selected from over 75 applicants for SARC Residencies, are:

Ruth West, UCSD Center for Research in Computing and the Arts (CRCA), San Diego.
Adrianne Wortzel, New York City College of Technology, City University of New York.
Francesca Samsel, Austin, TX.
Todd Ingalls, Grad. Studies Chair, Arts, Media, Engineering School, ASU, Tempe, AZ.
William Wilson, Santa Fe, NM.

In this first program year, all of the SARC artists and Lab science teams bring a shared interest and experience in cross-disciplinary work with large data sets, complex eco-systems modeling, advanced visualization (or sonification) techniques, and creativity applied to improving critical social or environmental understandings and decision-making processes. SARC's Summer 2012 program is intended to further key objectives and benefits for both the sciences and the arts.

SARC intends to build on lessons learned and on emerging best-practices, to become an ongoing initiative, with increasing benefits to the sciences, to the arts, to lifelong learning and to society. In addition to collaborations, SARC is going to provide opportunities for creative participation, on-site and online, by additional artists and scientists, now becoming part of the SARC Pool.

SARC projects will result in publication and exhibition during ISEA2012, in Albuquerque. Santa Fe Institute will host SARC Working Group meetings, and a series of public discussions and presentations are currently being arranged for Albuquerque, Santa Fe and Los Alamos.

SARC has been initiated as a project of 516 Arts, an Albuquerque nonprofit 501(c)(3) .org. It is funded in part by the New Mexico Consortium, and by the Lockheed Martin Foundation.

SARC Co-Directors are: Jack Ox jackox@comcast.net and Richard Lowenberg rl@radlab.com

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23. Theodora Skipitares, FF Alumn, at Ellen Stewart Theatre, Manhattan, April 12-29

Theodora Skipitares, FF Alumn, presents Prometheus Within at The Ellen Stewart Theatre at La Mama, from April 12-29. for tickets and more please visit www.lamama.org

Thank you.

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Goings On is compiled weekly by Harley Spiller