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Contents for November 23, 2012

1. Zachary Fabri, Pope.L, FF Alumns in Art Papers, Nov.-Dec. 2012

Recent work by Zachary Fabri and Pope.L, FF Alumns, is covered in the
November/December 2012 issue of Art Papers magazine. www.artpapers.org



2. Shirin Neshat, Robert Rauschenberg, FF Alumns, in The Wall Street Journal, Nov. 23

The Dancing Art Dealers, The Wall Street Journal, November 23, 2012

Despite buying and selling major artists like Robert Rauschenberg, Edvard Munch and
Shirin Neshat, Danish art dealers Jens and Luise Faurschou have always maintained a
low profile on the international art scene.

The Faurschous were unwittingly thrust into the international spotlight, however, when
they were prominently featured in Ai Weiwei's famous "Gangnam Style" video spoof in
October. In the short clip-which has gone viral on YouTube-Mr. and Ms. Faurschou
strut with Mr. Ai, who dances joyfully and waves with handcuffs.

Ms. Faurschou says the two, business partners who are divorced from each other, were
visiting Beijing in October; they own a gallery there. They went to see Mr. Ai, whom
they represent in Denmark and who is not permitted to leave China. He talked them into
performing with him, she said. "The video is typical for him-it shows impulsiveness and
lust for life. At the same time, it is political," says Ms. Faurschou.

The video brought unexpected attention to the Faurschous, who own a vast collection of
postwar and modern artwork featuring work by Louise Bourgeois and Lucian Freud. In
September, they opened a privately funded art museum in Copenhagen, called
Foundation Faurschou with a branch in Beijing. They often lend pieces to international
museums, including the Guggenheim Museum in New York.

"They offer potentially more to borrow for institutions than the Danish National Gallery,"
says Michael Jeppesen, an art critic at the newspaper Danish Daily Information. Mr.
Jeppesen estimates the couple's collection is worth more than €130 million ($167
million). The Faurschous decline to comment on the number.

The new museum is hidden in an old warehouse in Copenhagen's Freeport section. "This
is the world's best playground," says Ms. Faurschou, as she walks around the 11,000-
square-foot exhibition space where Chinese artist Cai Guo-Qiang is on display.



3. Agnes Denes, FF Alumn, in The New York Times, Nov. 22

November 22, 2012
Agnes Denes: 'Sculptures of the Mind: 1968 to Now'
Leslie Tonkonow
535 West 22nd Street, Chelsea
Through Jan. 19

By the mid-1960s it seemed that there was no room for consequential innovation in
painting and sculpture. So some artists, like Robert Smithson and Michael Heizer,
ventured outward to create sculptures in remote places, and some went inward to explore
landscapes of the mind. Agnes Denes went both ways.

In the show "Sculptures of the Mind: 1968 to Now" a piece from 1969 called "The
Debate (1 Million B.C. - 1 Million A.D.)" sets the terms of mortality and infinity that
bookend Ms. Denes's expansive concerns. It has two miniature, seated human skeletons
in a clear box whose mirror-coated interior panels create an endless recession of

A 1984 lithograph called "Dialectic Triangulation: A Visual Philosophy" diagrams in
finely drawn graphics an exploration of symbolic logic that Ms. Denes developed around
1970. Viewers not trained in the more technical aspects of modern philosophy may find it
impossible to parse, but it does indicate a remarkable will to achieve systematic
understanding of how we think and behave.

More readily comprehensible but existing now only in documentary photographs was Ms.
Denes's creation of a two-acre wheat field on landfill near the World Trade Center in
1982. Still alive and growing, on the other hand, is "Tree Mountain" (1992-96) in
Finland, a conical hill planted with 11,000 fir trees in a complex spiral pattern.
A gallery exhibition can only suggest how far and wide the polymathic Ms. Denes has
ranged over material and mental worlds during the past four decades. It would take a full-
scale museum retrospective to do that.



4. Martha Rosler, FF Alumn, in The New York Times, Nov. 19

The New York Times, November 19, 2012
Appreciating the Art of a Deal

REALLY, the prices were too high. At least in this humble shopper's opinion. And while
haggling was encouraged, even the most experienced hondlers accrued, on average, at
most a $2 savings.

But bargains weren't the point at the "Meta-Monumental Garage Sale," which opened
Saturday on the second-floor atrium of the Museum of Modern Art. It was the latest
iteration of a performance piece that the artist Martha Rosler, 69, has been enacting for
more than four decades, selling items donated by friends, family, colleagues and fans, as
well as her own castoffs (including, rather memorably in the early '70s, used diaphragms
and her son's baby shoes).

The aim was to create, as a news release for the event promised, "a lively space for
exchange, not only for consumer goods but also for real and fictive narratives, ideas and
interactions with the artist."

Ms. Rosler, a no-nonsense woman with short gray hair and a taste for Yiddish, has long
been interested in feminism and capitalism, chewing over these subjects in videos,
photographs and written work. During the Vietnam War, Ms. Rosler inserted the war's
most chilling images into pages torn from "House Beautiful" magazine.

She can declaim with the best of them about high modernism, postmodernism and new
institutionalism. But last Saturday, Ms. Rosler was all pragmatism, as befits a garage sale
major-domo. She was both harried and focused, just as you would be if you had
collected, priced and displayed more than 14,000 items, including a 1981 Mercedes
diesel station wagon, sans engine ($4,000); a porcelain sink ($70); rows of chairs, like
'70s-era Thonet knockoffs (average price, $60); much holiday bric-a-brac, like plastic
Christmas table ornaments from the 1960s in their original packaging ($7); girlie
magazines from the 1950s and 1960s (not yet priced); and kitchen accessories (whisks,
sieves and dish racks, $4 to $2). In short, it was the same familiar stew of tchotchkes,
curiosities and furniture you would find at any yard sale, although the process of
assembling it was amplified by the vicissitudes of Hurricane Sandy.

The crowd was familiar, too, a polite line of looky-loos, bargain hunters and accidental
tourists who funneled into the atrium in groups of 200. There were even early birds, like
John Firestone, a Manhattan lawyer and MoMA member, who had been waiting since
just after 10 a.m. and scored the first spot on line. (The show/sale is open from noon to 5
p.m. - except Friday, when it closes at 7:30, and Tuesday, when the museum is closed
- until Nov. 30)

Mr. Firestone, 54, said he was a collector of this sort of cultural experience, having
logged in nine hours (though not in one sitting) of "The Clock" when it played at Lincoln
Center last summer, among other events. Second place in line went to four high school
friends from Maplewood, N.J., including Ava Milanese, 14, who had her eye on a
sweatshirt bedazzled with a Christmas wreath that was on display high up the atrium's
wall, for which, she said, she was willing to pay as much as $50.

"If you buy a piece of Martha Rosler-curated stuff, do you use it?" Mr. Firestone asked.
"Or is it somehow imbued with a presence, so it becomes an art object?" In the manner
of, he went on to say, the fly swatter he bought at Maira Kalman's show last year at the
Jewish Museum, which featured Ms. Kalman's drawings of everyday things, as well as
tables and shelves displaying actual everyday things.

As it turned out, the Christmas sweatshirt was $20, which Ms. Milanese happily paid,
even though Ms. Rosler cautioned: "It's got coffee stains on the elbows. It's slightly
pilled, too. That's why it's priced so low."

Also, Ms. Milanese was told she wouldn't be able to pick up her purchase until the last
day of the show, because it was part of a wall display. But most of the items were cash-

Lilly Gilman, 34, who described herself as "in school-slash-unemployed-slash-used-to-
be-an-artist," was trying on a snap-button denim shirt, a ringer for the one her husband,
Will Gilman, 32, was wearing.

"I'm a compulsive buyer of Western denim shirts with snaps," Ms. Gilman said, adding
that she had bought five this year, average price $15, from eBay and other sources.
This denim shirt was missing a price tag. Would she pay $20? Mr. Gilman answered:
"That would be high, except it has added value."

A white wedding photo album gave some shoppers pause. Who would throw out a
wedding album? "Probably divorced," said one woman, an insurance consultant. "After
my sister got divorced, she burned her wedding album in the Chiminea."

Jean Adelhardt, a relative, appeared suddenly, gazing fondly at the album's black-and-
white photographs. "They are dead," she said. "Don't feel bad, I scanned all the images.
She's my aunt. It's a celebration of her. She was an artist. Now she's in MoMA!"
A young man holding a globe approached Ms. Rosler. "Would you consider signing
this?" he asked.

"Under no circumstances," she said firmly.

To Christian Nagel, 51, her German dealer, Ms. Rosler announced, "We haven't had time
to price any of these because of all the gishray," waving a hand at a table of knickknacks
and commenting on the messiness.

Mr. Nagel was one of many so-called "performance facilitators," otherwise known as
salesclerks, wearing red smocks printed with the words "Ask Me" in bright yellow. His
colleague, Saskia Draxler, 46, noted later that the event was just like an art fair, except it
was easier to make a sale, and you didn't have to wear the towering high heels that are
her uniform, she said, at Art Basel. She raised a trouser leg to reveal sensible, low-heeled

There were lots of shoes, including a pair Doc Martens ($70) and a pair of very worn,
pointy-toed, purple Prada loafers ($75), and garment racks hung with clothes. Shoppers
sifted through them with deft fingers.

Bonnie Trivizas, 66, was stylishly dressed in a sort of deconstructed sweater and other
layers of black and brown in the manner of, say, Rei Kawakubo, circa 1985. "Mud
colors," she said. "The dead colors, that's me!"

She had just bought a bobble-edged scarf ($6, haggled down from $7) that "went"
perfectly with her outfit. Still, she insisted that she had overpaid. "That scarf is $4 on the
street," she said. Ms. Trivizas turned out to be something of an expert; her tunic, which
she made from parts of three sweaters bought at flea markets, is an example of the work
she sells at the Columbus Avenue Flea most weekends.

Pace Kaminsky was ebullient about his find, a fat unicorn statuette with a rainbow mane
he haggled down to $11, from $15. "My friend called it an albino hippo in drag," said
Mr. Kaminsky, 43, an art director. "Look, it's an actual gay icon." He turned the piece
over to reveal a little stainless steel plaque that read "Goodies by Gay."

But this shopper was getting anxious. Two hours had passed, and she hadn't bought a
thing. Her companion said, somewhat irritably: "It all looks real, but it's not. I think you
should drop something, make a scene. What are the limits of this performance?"
The shopper ignored him and browsed coffee mugs, some emblazoned with The Onion
($3 each).

"Too ordinary," her friend said, steering her to a trio of cow creamers, identical except
for their expressions, priced at $12, $11 and $10.

Relieved, the shopper approached a cashier with the $10 cow. "Do you want to haggle?"
the young woman at the register asked politely.

"Yes, please, may I have it for $5?"

The woman countered: "$8." But when the shopper opened her wallet, there were only
two singles inside.

"We can hold it for you," the woman said.

The shopper nodded, deflated. She knew she wouldn't return.



5. Doug Skinner, FF Alumn, publishes new book

Black Scat Books has just released my translation of Isidore Isou's "Considerations on
the Death and Burial of Tristan Tzara," as the eighth of their elegant chapbook series,
"Absurdist Texts and Documents."

Isidore Isou is little known to American readers, and few of his writings have been
translated. In the late 1940s, he founded a new literary movement, Letterism, devoted to
reducing poetry to letters and phonemes.

He and his associates took to the clubs of post-war Paris to declaim their creations, often
at high volume.

Tzara was one of Isou's artistic heroes; in this article, he recounts his sad, hilarious, and
embarrassing behavior at Tzara's funeral. My translation (plus introduction) is published
in a limited edition of fifty copies, and available from blackscatbooks.com.



6. Chris Sullivan, FF Alumn, at Film Forum, Manhattan, Dec. 12-25

Chris Sullivan, FF Alumn, presents his film, Consuming Spirits, at Film Forum in
Manhattan, from December 12 through December 25. for tickets and complete
information please visit:




7. David Medalla, FF Alumn, receives Gawad ng Lahi Award, Manila University, The
Philippines, Nov. 27, and more

David Medalla, FF Alumn, will be conferred with the Gawad ng Lahi Award by the
Ateneo de Manila University in the Philippines on Tuesday, November 27, 2012 at 3:30
p.m. the award is one of the most distinguished in the Philippines. It is awarded to
Filipinos who have contributed significantly and profoundly to Philippine life and

The Special Academic Convocation will be held in the Leong Hall Auditorium
of the Ateneo de Manila University on Loyola Heights in Quezon City, metro Manila.
The Processional Music of the Convocation Ceremony will be played by the Sonata
Strings Ensemble. After the Philippine National Anthem is sung by the people present,
the invocation will be recited by Rene Javellana, SJ.

The Special Academic Convocation will be opened by John Paul C Vergara, PhD,
Vice President of the Loyola Schools. Jose Ramon T Villarin SJ, President of the Ateneo
de Manila University, will deliver the welcoming remarks. Two years ago, Father
Villarin participated with several distinguished Filipino artists in a participatory
performance created by David Medalla at the Ateneo de Manila Art Gallery. The
performance was inspired by the many languages of the seven thousand-plus Philippine
islands. The conferment of the Gawad Tanglaw ng Lahi will be followed by a response
by David Medalla. Yael A Buencamino, Managing Curator of the Ateneo Art Gallery,
will emcee the ceremony. Ramon ES Lerma, Director of the Ateneo Art Gallery, wrote
the beautiful citation mentoning many of David Medallais achivements in the world of
art. The citation was edited by Nancy Pe-Rodrigo. Remmon E Barbaza is the Mace
Bearer, and the Marshalls are Eduardo Jose E Calasanz, Ma Celeste T Gonzalez, Armand
C Guidote, Rene R San Andres, and Roy Allan B Tolentino. The special Academic
Convocation Commitee is composed of Ronjohn C Adriano, Ma Sonia R Araneta, Ma
Rosario A Banzon, Jose Arnulfo C Batac, Liza M Constantino, Angelita S Cruz, Ma
Victoria Dimalanta, Perlas A Gutierrez, Elizabeth R Peralejo, Marie Joy R Salita, and
Cynthia S Totanes. The Production Team of the Convocation Ceremony are Nancy Pe-
Rodrigo, OnMedia, University Communication and PR Office. After the Convocation
Ceremony the audience will be invited by Ramon ES Lerma to the opening of David
Medalla's solo show at the Ateneo de Manila Art Gallery. The exhibition is entitled
'Tuloy Po Kayo !' , Filipino for 'Welcome !' The exhibition is in the first in an on-going
series of paintings by David Medalla consisting of remembered portraits of people from
different parts of the world who came to the Philippines and contributed in diverse ways
to various aspects of Filipino life and culture. 'Remembered' because David Medalla had
the good luck to meet those people as he was growing up in Manila where he was born.
The exhibition will also feature some large-scale new paintings by David Medalla
and a suite of his new sand paintings. In addition there are videos by Italian artist
Raffaella Losapio, Brazilian artist Renata Padovan, Dutch artist Sebastiaan Schlicher and
Australian artist Adam Nankervis of performances by David Medalla in Rome, Sao
Paulo, Berlin, and London.The show has been coordinated by the excellent Ateneo Art
Gallery team consisting of Director Ramon ES Lerma, Managing Curator Yael Buencamino, Assistant
Curator Joel de Leon, Project Coordinator Ian Carlo Jaucian, and Gallery Secretary Rea
Aguilar. Adam Nankervis, FF alum, Director of 'another vacant space' in Berlin,
Founder/Director of the nomadic MUSEUM MAN, and co-founder with David Medalla
of the MONDRIAN FAN CLUB, will perform with David Medalla at the Ateneo de
Manila Art Gallery on Saturday, January 10, 2013, at 3 p.m., a new work based on a fable
written by David Medalla as part of his celebrated tales collectively entitled 'Mirrors of



8. Zachary Fabri, FF Alumn, now online at http://vimeo.com/52040155

here is the link to the 16 mm film I created as one of my FF interventions. It's showing at
the Studio Museum in Harlem as part of their new exhibition Fore that just opened last
week. http://vimeo.com/52040155

Thank you. Zachary Fabri



9. Ruth Hardinger, FF Alumn, in Art in America, November 14

The Lookout: A Weekly Guide to Shows You Won't Want to Miss
by aia staff 11/14/12

With an ever-growing number of galleries scattered around New York, it's easy to feel
overwhelmed. Where to begin? Here at A.i.A., we are always on the hunt for thought-
provoking, clever and memorable shows that stand out in a crowded field. Below is a
selection of current shows our team of editors can't stop talking about.


Ruth Hardinger and Jon Bird at Sideshow, through Dec. 9

Ruth Hardinger-long known to New York viewers for her graphite abstractions,
Mexican-influenced textiles and rope-hung installations-has here scattered small
sculptural form across the gallery floors. Some, called "Envoys," are vaguely
anthropomorphic, while others feature ephemeral containers (milk cartons, etc.) cast in
raw concrete interlarded with cardboard: a mediation on sustainability and waste. That's
the "Culture" half of this two-person show, in which "Nature" is represented by the
muted, stylized landscapes of the veteran British painter Jon Bird.



10. LuLu LoLo, FF Member, at Hunter College, Manhattan, Nov. 28

LuLu LoLo November 28, 2012 A dramatic reading of the letters written to Congressman
Vito Marcantonio from his constituents
Selected and performed by LuLu LoLo (Pascale) for the following event

Vito Marcantonio Forum and Centro Center for Puerto Rican Studies
Vito Marcantonio and the Puerto Rican People
Solidarity and Progress
Wednesday, November 28, 2012, 6pm
Hunter College of New York
Faculty Dining Room, West Building, 8th floor
695 Park Avenue, New York, NY 10065

Gil Fagiani - Poet and Board Member of the Italian American Writer's Association

Gerald Meyer - Professor at Hostos Community College
"Vito Marcantonio: Fighter for Puerto Rico's Independence"

Edgardo Meléndez - Professor at Hunter College
"Marcantonio and Luis Muñoz Marín: Cooperation and Conflict"

LuLu LoLo Pascale - Playwright/Actor and Performance Artist
"Dear Marc, Letters to Marcantonio: A Dramatic Reading"

Roberto Ragone - Consultant and Community Activist
"Speeches with a Conscience: Marcantonio's Commitment to the Italian and Puerto
Rican Heritage"

Vito Marcantonio, who served as Congressman for East Harlem for seven terms, became
a national spokesperson for the American Left. His leadership of the America Labor
Party, which held the balance of electoral power in New York City, further amplified his
influence. During his fourteen years in Congress, he served as the de facto Congressman
for Puerto Rico by ensuring that the island was not shortchanged on appropriations bills
and that labor-law protections were extended to Puerto Rico. In 1946, Marcantonio
played a key role in having Spanish reinstated as the language of instruction in Puerto
Rico's public schools. In New York City, Marcantonio advocated for the Puerto Rican
people and combated discrimination. Marc's devotion to the cause of Puerto Rico's
independence and his unbreakable ties with the Puerto Rican people have earned him a
special status in their history and memory.

Contact: Evelyn Collazo (212) 396-6545 evelyn.collazo@hunter.cuny.edu
Light Refreshments



11. Alan Sondheim, FF Alumn, publishes new book

My book WRITING UNDER available! Information below -


(Please consider buying this - support the press and my work; it has a
great introduction by Sandy Baldwin!)


CONTACT: Abby Freeland, Marketing Manager at West Virginia University
Press, 304 293 8400 x 6, abby.freeland@mail.wvu.edu

Alan Sondheim pens Writing Under: Selection from "The Internet Text"

MORGANTOWN, W.Va. -- The Center for Literary Computing and West
Virginia University Press are pleased to announce the publication of
_Writing Under: Selections From the Internet Text_ by Alan Sondheim. This
extraordinary collection of work explores and examines what happens to
writing as it takes place on and through the networked computer.

Sondheim began experimenting with artistic and philosophical writing
using computers in the early 1970s. Since 1994, he has explored the
possibilities of writing on the Internet, whether using blogs, web
pages, e-mails, virtual worlds, or other tools. The sum total of
Sondheim.s writing online is entitled "The Internet Text."

_Writing Under_ selects from this work to provide insight into how
writing takes place today and into the unique practices of a writer.
The selections range from philosophical musings, to technical
explorations of writing practice, to poetic meditations on the writer
online. This work expands our understanding of writing today and charts
a path for writing.s future.

John Cayley of Brown University proclaims Alan Sondheim to be "the
poet, the artist, the maker who has most profoundly immersed himself
and his work in the life-changing code formsof networked computation
that have the world and its 'genesis redux' in their grip." Christopher T.
Funkhouser of New Jersey Institute of Technology affirms that "anyone
interested in knowing more about (or from) a writer who has practiced
and thrived on the Internet since its very beginnings needs to read
this book." (See below for more.)

Alan Sondheim is a Brooklyn-based new media artist, musician, writer,
and performer. He is concerned with issues of virtuality, and the stake
that the real world has in the virtual.

_Writing Under_ is published by the Center for Literary Computing, West
Virginia University. To order this title or to learn more about this
book visit
or phone (800) 621-2736.

Writing Under: Selections From the Internet Text by Alan Sondheim
December 2012/216pp ePub 978-1-935978-74-9/$19.99 PB

"Alan Sondheim is one of the precious few who joyfully-and in abject
misery-risks these terrors of writing for us, for our pleasure and our
undoing. What happens? Language disposes of us. As if that were not all
that is required of any writer, Alan Sondheim is also the poet, the
artist, the maker who has most profoundly immersed himself and his work
in the life-changing code-forms of networked computation that have the
world and its 'genesis redux' in their grip."

- John Cayley, Literary Arts, Brown University

"Sondheim crafts an often meandering + always introspective recording
of his prodigious on-line output. Birthed [and often remixed] in
digital formats and drenched in anxiousness + desire, his staggeringly
open text gives rise to possibilities of endless interpretation and
comprehension, leaving multiple re-reads a definite must."

- Mez Breeze, Australian-based writer and practitioner of net.art

"Encountering Alan Sondheim's work we become aware how versatile a
writer he is. The vast fore-lands of his Internet Text contains an
estimated 25,000 pages of wryting involving - as Sandy Baldwin observes
in his introduction "a phenomenology thick with human perception and
intentions that are bodily, personal, political, and communal." In
wryting, Sondheim produces all sorts of texts - poetry, prose, and the
unnameable compositions existing amidst conditions of material
transformations that merge (with) the physical and technological.
Writing Under offers up generous statements of process, from a self-
and other- aware master who is codework's godcyborg, a limner of
psychedelic landscapes in Second Life, and an inveterate graphophile.
This volume radiates foresight, stabilizing, if only for a moment, the
fragility of "tenuously tethered bits and bytes" that exist in a vast
field. For Sondheim, the creative is critical and vice versa; there's
much telling in _Writing Under,_ projecting insight into the machinery
of his oeuvre. Anyone interested in knowing more about (or from) a
writer who has practiced and thrived on the Internet since its very beginnings needs to
read this book."

- Christopher T. Funkhouser, Program Director, Communication and Media,
New Jersey Institute of Technology



12. Slaven Tolj, FF Alumn, at Croatian Festival, Carquefou, France, thru Feb. 3, 2013

Frac des Pays de la Loire
With Karmen Dada, Igor Eškinja, Ana Hušman, Ana Opalić, Davor Sanvincenti, Goran
Škofić, Slaven Tolj, Silvio Vujičić

26th International Workshops residency programme
Pays de la Loire Regional Contemporary Art Fund: Croatia
November 17, 2012-February 3, 2013

Part of the Croatian Festival in France, "Croatie la voice"
September-December 2012

Frac des Pays de la Loire
La Fleuriaye, 44470 Carquefou
T 02 28 01 50 00


Co-curated by Laurence Gateau and Slaven Tolj

A pioneer in this field, the Pays de la Loire Regional Contemporary Art Fund first set up
the International Ateliers (residency programme) in 1984, at Fontevraud Abbey in Anjou,
France. Through this initiative, rare in France, the Pays de la Loire Regional
Contemporary Art Fund has developed a venture of artistic support, which is also a
highly original way of enriching its collections. A platform for research, exchange and
production, these Ateliers make up a laboratory that is both active and reactive. In return,
the guest artists channel this time of energy to offer viewers a work that will then go on to
be exhibited, designed as a dynamic encounter.

This year, Laurence Gateau (Director of the Pays de la Loire Regional Contemporary Art
Fund) has decided to join curatorial forces with Slaven Tolj, a Croatian artist and
performer, in the context of the International Workshops residency programme. A
committed figure to the Dubrovnik scene, Slaven Tolj established the Art Workshop
Lazareti there in 1988. He was also the commissioner of the Croatian Pavilion at the
Venice Biennale in 2005.

Karmen Dada
At the Ateliers Internationaux, she was especially interested in the mission of the Fracs to
circulate their works as much as possible, while keeping a large degree of independence
from the Fracs in other regions. She was concerned with the actual visibility of the works
and the accessibility of the collections to the general public. This process of research on
the unprecedented nature of the Frac network produced a piece which can be seen as a
visualisation of the Fracs' similarities and differences.

Igor Eškinja
The artist gives shape to his architectonics of perception using simple, inexpensive
materials, such as adhesive tape and electric cables applied directly to the wall or floor.
For Star-Dust, Eškinja conceived a dust carpet inspired by local textile patterns and
Nantes's past as a centre of slave trading.

Ana Hušman
During her residence at the Frac, Hušman continued her work on the social norms that
govern our lives. She was especially concerned with the situation of Croatian emigrants
in America, who learn their parents' language and customs from books dating back to the
1960s and might encounter completely different realities when returning to Croatia today.

Ana Opalić
A graduate of the Academy of Dramatic Arts in Zagreb, Ana Opalić was voted Best
Young Photographer in the Croatian Photography Exhibition in 1997. Her photographic
and video work explores various territories: daily life, the family unit, the natural
environment, her country's past history and wastelands.

Davor Sanvincenti
Davor Sanvincenti's artistic practice is protean in form, embracing cinema, video,
photography, sound installations and live performances. His work plays with the concept
of illusion, by exploring the possible limits of illusion, by exploring the possible limits of
perception and the construction of experience. Observations and research related to
scientific and artistic fields provide a framework for his work.

Goran Škofiić
For Star-dust, Goran Škofiić extended the range of materials he works with and suggested
an interaction of a ventilator with a video on a screen. In a second piece, he altered the
traditional mode of projection by installing a rotating video projector and thus explored
the effects of this on the perception of the video itself.

Slaven Tolj
Slaven Tolj is one of the most important artists on the Croatian scene. His radical and
minimalist approach explores contemporary society, taking in the country's history
through performances, photography and readymades. A committed figure to the
Dubrovnik scene, in 1988 he established the Art Workshop Lazareti, one of the most
active art centres in Croatia today.

Silvio Vujičić
Silvio Vujičić continued his exploration of natural sciences during his residence by
focussing on the sublimation of caffeine as a visually interesting chemical process. He
produced a machine rendering this process visible to the spectator and presents the
crystallisation of sublimated caffeine on glass and textile.



13. Joseph Kosuth, FF Alumn, at Kuad Gallery, Istanbul, Turkey, thru Feb. 23, 2013

Joseph Kosuth
The Wake (An arrangement of references with all the appearance of autonomy.)
1 installation, 19 works

22 November 2012-23 February 2013
Opening: 22 November, 4-8pm

Kuad Gallery
Süleyman Seba Caddesi No: 52
Akaretler 34357 Besiktas
Hours: Tuesday-Saturday 11-7pm

T +90 212 227 00 08

Twitter / Facebook

Kuad Gallery is pleased and honored to announce the exhibition by Joseph Kosuth, the
most important representative of Conceptual Art since 1960s, which will open November
22 and be on view through February 2013.

This is the first presentation of an ongoing work based on James Joyce's most complex
book, Finnegans Wake, a part of a series that Kosuth conceived about four years ago and
since then has been working on. The positioning of the words he has chosen from the
book in relation to each other is based on their location on the page in Finnegans Wake.
Finnegans Wake is not yet translated into the Turkish language; however Kosuth, with
respect to the local culture, has decided to construct this installation of white neon words
on gray surface (walls) in English and Turkish (Translated into Turkish by Armağan

Kosuth's art made its first impact in the mid-1960s, when new linguistic and ideological
theories attacked the fundamental presumption of Modernism at a time when Modern
philosophy itself was deconstructed. Kosuth's work was an exploration of the nature of
art, and the production and role of meaning within art. He has been employing references
to Sigmund Freud's psychoanalysis, Ludwig Wittgenstein's philosophy of language and to
a rich synthesis of theories by Walter Benjamin, Jorge Luis Borges and Friedrich

Kosuth is portrayed by art historians and art critics as an artist and a theoretician. In 1969
he published the essay "Art After Philosophy," and claimed that art in its traditional and
classical form and content and the related discourse had reached its end. The new art is a
radical exploration of the meaning through which art gains its status as art and its cultural
significance. What he commented at that time is still valid: "Being an artist now means to
question the nature of art. If one is questioning the nature of painting, one cannot be
questioning the nature of art . . . That's because the word "art" is general and the word
"painting" is specific. Painting is a kind of art. If you make paintings you are already
accepting (not questioning) the nature of art."

His visual language using photography and text at the beginning of his practice as well as
making major installations with neon texts in numerous public spaces, museums and
institutions all over the world has established the path to new aesthetics, form and
artmaking that is prevailing since today. One of his first conceptual works One and Three
Chairs, consisting of a physical chair, a photograph of that chair, and the text of a
dictionary definition of the word "chair", has also been presented in Istanbul, on the
occasion of his solo exhibition in Borusan Art Gallery (15 September-28 October 1999),
featuring a work from the same year (1965) consisting of the mezzanine door, the
photograph of the door and the text of dictionary definition of the word "door". He had
realized a special work for Borusan Art Gallery titled Guests and Foreigners: Rossini in
Turkey. A catalogue of this exhibition has been published.

Coming to Istanbul again after 13 years Kosuth's installation in Kuad Gallery will reopen
the discussion about the function, nature and status of art, which is currently argued to be
under the manipulating influence of global art market conditions. Furthermore, his
presence and work will surely have a very captivating impact on the understanding and
perception of the contemporary art public of today's global city of Istanbul; and, above
all, for the cognizance and perception of the young generation artists who seek an
interdisciplinary fusion of conceptual and intellectual content, form and aesthetics in
today's art making.

Accommodation sponsor: Point Hotel Istanbul



14. Ann Hamilton, FF Alumn, at Park Avenue Armory, opening Dec. 5

Ann Hamilton
the event of a thread
December 5, 2012-January 6, 2013

Park Avenue Armory
643 Park Avenue (at 67th Street)
New York City
Hours: Tuesday-Sunday 12-7pm
Special holiday hours:
December 24 & 31, January 1: 12-7pm
Closed December 25


Park Avenue Armory has commissioned Ann Hamilton to create a new
installation, her first large-scale project in New York City in more than ten years. the
event of a thread weaves together Hamilton's exploration of time-based performance, the
act of public speaking, and the poetic accumulation of material for which she is best
known. Responding to the architecture and social history of the Armory, the participatory
installation will feature a field of swings, suspended like pendulums from the drill hall
trusses, and incorporate readings, sound, and other live elements that will animate the
55,000-square-foot Wade Thompson Drill Hall.

the event of a thread draws inspiration from the act of reading aloud and its relation to the
varied experiences of speaking, listening, and recording. Over the duration of the
exhibition, a succession of attendant readers, two at a time, will read aloud while seated
at a table near the drill hall's entrance. Their live voices will become a constant presence
broadcast throughout the installation on a radio bandwidth designed to occupy a single
city block, the physical footprint of Park Avenue Armory. Radio receivers will circulate
to visitors who will be able to "carry" the voices as they traverse the installation.
Continuing this theme of transmission, 42 trained homing pigeons, historically used to
communicate messages, will be housed in cages surrounding the readers' tables. On the
opposite end of the expansive drill hall, an attendant writer-a quiet presence and visual
counterpoint to the readers-will inscribe a response to the radio transmissions, the
reading voices, and the room behind them as seen in a mirror reflection.

At the center of the installation, a field of 42 swings suspended from the hall's elliptical
wrought iron structural trusses will connect via ropes and pulleys to a massive cloth that
bisects the space and will be animated by the movement of the swings. The shifting
constellations of people gathered and invited to use the swings will create a complex
kinetic system and an experience of communal connectivity.

About Ann Hamilton
Ann Hamilton is a visual artist internationally recognized for her large-scale multimedia
installations. Hamilton has received a MacArthur Fellowship, Guggenheim Memorial
Fellowship, NEA Visual Arts Fellowship, United States Artists Fellowship, the Heinz
Award, and was chosen to represent the United States at the 1999 Venice Biennale. She
is currently a Distinguished University Professor of Art at The Ohio State University.

Artist Talk: Ann Hamilton
Saturday, December 8, 2pm
Join Ann Hamilton for an informal discussion with Kristy Edmunds, Consulting Artistic
Director at the Armory, about her artistic process, collaborations, and the ideas that
inform her work.
Tickets available at www.armoryonpark.org

About Park Avenue Armory
Part palace, part industrial shed, Park Avenue Armory fills a critical void in the cultural
ecology of New York by enabling artists to create, and the public to experience,
unconventional work that could not otherwise be mounted in traditional performance
halls and museums. With its soaring 55,000-square-foot Wade Thompson Drill Hall and
array of exuberant period rooms, the Armory invites artists to draw upon its grand scale
and distinctive character to both inspire and inform their work. The Armory is currently
undergoing a revitalization of its historic building, named among the "100 Most
Endangered Historic Sites in the World" by the World Monuments Fund in 2000. The
renovation and restoration, designed by Herzog & de Meuron, will stabilize and preserve
the building and create new resources and spaces for exhibitions, installations, and
performances, as well as Artist-in-Residence studios, rehearsal rooms, and back-of-house
amenities-offering dynamic environments for artists and audiences alike.



15. Christy Rupp, Robin Tewes, FF Alumns, at KMOCA, Kingston, NY, thru Nov. 24

Scenes Believing, an exhibition at KMOCA, 103 Abeel Street, Kingston, NY, from Nov.
3-24, includes the work of Christy Rupp and Robin Tewes, FF Alumns.



16. Adrianne Wortzel, FF Alumn, at Cooper Union for the Advancement of Science and
Art, Manhattan, December 6.

"Engineering Art"
Artist Adrianne Wortzel will speak on her projects in collaboration with engineers and
scientists and her recent participation in Scientists/Artists Research Collaborations
("SARC"), a initiative towards collaborative projects with scientists at Los Alamos
National Laboratory and Sandia National Laboratories in New Mexico.

Thursday, December 6, 5 PM.
Room 315, Cooper Union
Foundation Building
7 East 7th Street
New York, New York 10003

Co-hosted by the Cooper Union student chapters of IEEE ("Institute of Electrical and
Electronics Engineers') and ACM ("Association for Computing Machinery"),



17. Stephanie Skura, FF Alumn, at Movement Research, Manhattan, Dec. 6-7

Hello friends,

I'm honored to participate in the current Judson at 50 Festival at Movement Research &
Danspace in NYC, with a workshop & new solo performance. Your participation &
presence would be welcome gifts. If you're far away, please spread the word!

Courage + Rigor + Freedom

Two-day workshop Dec 6 & 7, 12:30 - 3:30 pm, with juicy experiments accessing the
subconscious, connecting moving, writing & drawing. Warmups draw from Open Source
Forms, about deep commonalities & cross-fertilizations of Releasing technique &
creative process.

Info & registration:


Sacrilege is Needed. Competency is Hell.

NEW solo performance Dec 8 at Danspace, NYC: In the spirit of Judson innovations,
this work experiments with surprising pathways between movement, text, & vacillating
brain states. With radically imagistic language that dances, & possessed movement.

Also performing the same evening: devynn emory, Niall Jones.

Info & tickets:



Lots of cheers,

Stephanie Skura



18. Jay Critchley, FF Alumn, at EIDIA House, Brooklyn, opening Nov. 30

Jay Critchley, FF Alumn at EIDIA House, THE DECONSUMPTIONISTS Art As
Archive, Bushwick, Nov. 30


Presenting: Jay Critchley's THE iZONE
featuring BabySkinGlove collective

A project of EIDIA House / Plato's Cave
November 30 to December 22, 2012

Opening & performances, Friday Nov. 30, 7-9pm & Saturday Dec 1, 2-4pm

Hours 1-6pm, Wed. - Sat. by appointment, eidiahouse@earthlink.net 646 226 6478,

THE DECONSUMPTIONISTS, 23 Montieth St. Brooklyn, NY 11206 (near corner
Bushwick & Flushing Ave)

http://maps.google.com/maps?oe=utf-8&rls=org.mozilla:en-US:official&client=firefox- a&q=23+Montieth+St.++Brooklyn+NY+11206&um=1&ie=UTF- 8&hq=&hnear=0x89c25c077fe9bc2d:0xdf975a7159b2f416,23+Montieth+St,+Brooklyn, +NY+11206&gl=us&sa=X&ei=AhKYUPPEO4q70QH0h4GoAQ&ved=0CB8Q8gEwA A

A weathered, transformed Cape Cod outhouse installed in a 48-foot tractor-trailer will
inaugurate a new space in the Bushwick neighborhood of Brooklyn-THE
DECONSUMPTIONISTS Art As Archive-wherein Jay Critchley, with BabySkinGlove,
will be the debut exhibitor and performance collective. This continues EIDIA House's
exhibition initiative that evolved from the PLATO'S CAVE (underground) series to this
mobile, aboveground archive and exhibition space.

"The iZONE: Archival Interlude" is located at 23 Montieth Street, Brooklyn and opens
Friday, November 30, with performances from 7-9pm, and Saturday, December 1 from 2-
4pm. The show runs through December 22 with hours 1-6pm Wednesday-Saturday, by

Continuing his work envisioning the future of the planet and our state of impermanence,
Jay Critchley's installation, THE iZONE: Archival Interlude features an historic outhouse
that invites the audience to step away from the ravages of this world, where past traumas
and an uncertain future remain a constant struggle, and provides a platform for one to
simply relax in the present. With the help of the collective BabySkinGlove, Critchley's
THE iZONE: Archival Interlude will transform this parked shipping trailer space, created
by artists Melissa P. Wolf and Paul Lamarre, (aka EIDIA) into an enlightened facility for
discharging, cleansing our distressed bodies and spirits of sensory and digital overload,
thus creating a clean slate.

Each visitor will participate in a series of healing stations ending in the meditative, low-
tech comfort of THE iZONE. The shipping container's ambience will emulate an
exclusive spa complete with blue track lights and plastic curtains. Visitors are fully
protected from human judgment during their stay. With skilled and efficient guidance,
treatment during the Archival Interlude will give each participant the opportunity to
experience life in a post-archival, post-traumatic state.

Jay is a Provincetown artist and activist whose visual, conceptual, and performance
works have traversed the globe, showing and/or performing in Argentina, Japan,
England, Holland, Germany and Columbia. His 2011 show at Freight + Volume, Chelsea,
NY was featured in the New York Times, The New Yorker and the Village Voice.

He founded Theater in the Ground in his backyard septic tank in Provincetown, and the
patriotic Old Glory Condom Corporation, which won a controversial US Trademark.
Jay's movie, Toilet Treatments, won an HBO Award at the Provincetown Film Festival.
He has created collaborative projects for three pre-demo buildings. He has taught at the
Museum School at MFA Boston, and has had residencies at: Harvard University, AS220
in Rhode Island, Williams College, Real Art Ways in Hartford, and Milepost 5 in
Portland, Oregon. Jay has artist residencies in Spain and France in 2013.

Bailey Nolan is an energy artist based in Ridgewood, New York with roots in the
Pennsylvania countryside. She is the creator and director of New York's definitive
performance collective, BabySkinGlove. Her focuses include love, gender, space and
sex. A graduate of New School University, her work has been shown at Greene Naftali
Gallery, CultureFix Gallery, Chashama, The Art Institute of Chicago, The Roger Smith
Hotel, Kleinfelds, et al.; among others she has collaborated with Ryan Trecartin & Lizzie
Fitch, Vanessa Beecroft, Gelitin, James Franco, and Andrew W K. She recently founded
a cult.

With its June 2012 launch in Bushwick Brooklyn, the latest project from EIDIA House
is: THE DECONSUMPTIONISTS, Art As Archive, (2006-present). A 48-foot tractor-
trailer containing 171 boxes of art production, spanning three decades (each box being
documented by digital color photographs)-EIDIA deems the trailer a recycled
exhibition and events habitat, as part of the growing international "hybridized" arts
spaces movement. Fellow artists are invited to exhibit/perform within the trailer. Jay
Critchley along with BabySkinGlove collective are the premier exhibitors. THE
DECONSUMPTIONISTS, Art As Archive is a reevaluation of capitalism and
consumption in these increasingly tenuous times. Unconstrained as a museum or gallery
building, the trailer is licensed, 'cargo worthy'-to exhibit anywhere.

EIDIA, the collaborative artist team of Lamarre and Wolf posit a modality of:
reassembling, repositioning, and reshaping previously created artworks to provoke a
differing conversation about production and consumption. What is our responsibility as
cultural producers? Are artists a part of the problem or the solution? EIDIA presents the
struggles and contradictions of the production of art in a capitalist economic model,
which acts to constrain the progressive-the ''socially radical'' potential of the resulting
work. Using the physicality of a tractor-trailer, along with tours of the interior utilizing
photography, text, and video projections-THE DECONSUMPTIONISTS offers a
compelling focal point for aesthetic research. EIDIA has exhibited nationally,
internationally and are in numerous collections.

Hours 1-6pm, Wed. - Sat. by appointment, contact Paul Lamarre, or Melissa P. Wolf,
eidiahouse@earthlink.net 646 226 6478, http://www.eidia.com/



19. Nicolás Dumit Estévez, FF Alumn, at Bohemian Club, Mostar, Bosnia and

Website: http://provisionslibrary.com/?p=16543

An Experience in Mostar, Bosnia and Herzegovina
by artist Nicolás Dumit Estévez with the participation of the Bohemian Club, Association
"Neretva 1993," and the Old Age Care Center Mostar
Abart/OKC "Abrašević" Mostar, in partnership with Provisions Research Center for Arts
and Social Change, announces an art-life experience documented in an exhibition at
Mostar's Bohemian Club opening Thursday, November 22, 2012, 7 pm. The Bohemian
Club, Maršala Tita 52.

Describing the impetus for his project, Bronx-based, American artist Nicolás Dumit
Estévez says, "Like most new visitors to Mostar, one of my first sightings was the
impressive Old Bridge over the Neretva River. I photographed this landmark from all
possible angles, while buying and mailing postcards of its historical image. It was
however through a fisherman I met in town during the summer of 2012 that I became
most vividly aware of the symbolic power behind the image of the Old Bridge, when he
said,'People themselves are more important than bridges,' and so I followed his lead."
For Let´s Meet at the Bridge, Estévez returned to Mostar in the fall of 2012 to spend
time interacting with three groups: senior citizens in an assisted living facility, fishermen
along the river, and members of the storied Bohemian Club. His intention was to learn
about the myriad bridges that are forged between inhabitants of this divided city on a
daily basis, seeking to shed light on the essence and transcendence of human connection.
Throughout his research process Estévez acts as a cultural conduit, bridging people he
has met with specific places in their town or inviting them to bridge their histories and
memories through conversations, quotidian activities or performative actions.
Photographic evidence of the Let´s Meet at the Bridge will be exhibited at a celebration
scheduled for Thursday, November 22, 2012 at 7 pm at the Bohemian Club in Mostar.
Let´s Meet at the Bridge is the first artist residency of the Balkan-American Project
which takes its inspiration from parallels between the diverse and dynamic cultures of the
United States and countries in the Balkan region. Provisions Research Center launched
the Balkan-American project in 2007 in collaboration with Foreign Policy in Focus
(FPIF) at the Institute for Policy Studies and independent curator Olivia Georgia. Project
organizers have made six trips to the Balkans to research a range of topics with curators,
contemporary artists, and members of the academic, activist, and policymaking
communities. A special website was created to share over 60 interviews with these
resource people, along with artist profiles and topical postings: (http://balkansproject.ips-
dc.org/). Through these interviews, profiles, dialogues and art projects the Balkan-
American Project has established an innovative platform for expressing the complex
global implications of the United States and the Balkans.This project is supported by a
grant from the Trust for Mutual Understanding.

Nicolás Dumit Estévez works mainly in performance art and experiences where life and
art often overlap. He has exhibited and performed extensively in the U.S. as well as
internationally at venues such as Madrid Abierto/ARCO, The IX Havana Biennial,
PERFORMA 05 and 07, IDENSITAT, Prague Quadrennial, The Pontevedra Biennial,
The Queens Museum of Art, MoMA, Printed Matter, Princeton University, The Institute
for Art, Religion, and Social Justice at Union Theological Seminary, The MacDowell
Colony, El Museo del Barrio, The Center for Book Arts, The Bronx Museum of the Arts,
Lehman College Art Gallery, Longwood Arts Gallery/BCA, The Smithsonian National
Museum of the American Indian, Franklin Furnace, and Lower Manhattan Cultural
Council, among others. During the past seven years Estévez has received mentorship in
art in everyday life from Linda Mary Montano, a historic figure in the performance art
field. Montano and Estévez have also collaborated on several performances. Residencies
attended include P.S. 1/MoMA, Yaddo and the MacDowell Colony. Estévez teaches at
Transart Institute in Berlin-New York. Born in Santiago de los Treinta Caballeros,
Dominican Republic, he lives and works in the South Bronx.

Special thanks to Srđan Gavrilović and Miki Olabarri Powell.

Abart / OKC "Abrašević" MostarSince 2008 Abart has been working as an independent
group based in the Youth Cultural Centre Abrašević (Mostar), and focusing on the
production and support of several art projects. Based on an open platform model, Abart is
focused primarily on research projects and the implementation of artistic interventions in
the context of Mostar. As politically active and engaged subjects, we take the situation of
Mostar and its polarization as the starting point to open up a discussion about divisions
and divides. We are not only interested in religious and ethno-national separations, but
rather in observing the ways in which the urban divide affects public spaces and the
everyday. We believe that art-based interventions hold the potential for a critical re-
thinking of given values and to open up new perspectives in discussing forms, functions
and values of public space.

Provisions Research Center for Arts and Social Change is a research, education and
production center at George Mason University in Fairfax, Virginia,investigating the
intersections of arts and social change. Provisions is a leading voice advancing
knowledge and promoting understanding of a wide-range of social topics, and producing
innovative models to critically investigate issues surrounding these topics. With its
extensive library, public programming, and research opportunities, it supports artistic,
intellectual, and activist endeavors that explore the social dimensions of contemporary
culture.Provisions features programs such as exhibitions, public art, residencies,
screenings, workshops, lectures, and publications. To further disseminate its mission and
programs, Provisions seeks partnerships and collaborations with artistic, educational, and
philanthropic organizations. More at: http://prov



20. C. Carr, FF Alumn, in The New York Times, Nov. 23

C. Carr's new book is recommended in the New York Times. Below please find a link to
the complete article, and a clip:


"Books themselves can be souvenirs - souvenirs of artists' lives, in the case of a handful
of vivid biographical and semi-autobiographical releases this year. 'THE LIFE AND
(Bloomsbury, $35) is one. Wojnarowicz (1954-92) was a 1980s East Village artist and
writer who came to New York as a teenage street hustler and ended his brief life back on
the street, weak with AIDS, as part of the protest group Act Up. Ms. Carr is particularly
authoritative on the late, inflammatory phase of his career, and his art still lights fires, as
was demonstrated when one of his videos was the target of censorship at the National
Portrait Gallery in Washington in 2010."



Goings On is compiled weekly by Harley Spiller