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Contents for March 20, 2013

1. Micki Watanabe Spiller, FF Alumn, at Center for Book Arts, March 30

Please Tell Me a Story
Please Read Me a Book
Please Join Us for
A Story Hour

at

Center for Book Arts
28 West 27th Street, 3rd Floor
New York NY 10001
212-481-0295
Saturday March 30 beginning at 2 pm

In conjunction with the exhibition "Brother, Can You Spare a Stack"
Artist Talk/Family Day
Parents and their children ages 3-10 years old are invited to join us for storytelling and crafts led by artist Micki Watanabe Spiller.
So come join the fun and get a free book bag!

www.awoodsidewalk.blogspot.com

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2. LuLu LoLo, FF Member, at CNL Cultural Center, Queens, NY, March 26, and more

LuLu LoLo remembers the 146 mostly young immigrant women who died in the Triangle Shirtwaist Factory Fire by performing an excerpt from her one-person play: "Soliloquy for a Seamstress: The Triangle Factory Fire" at the following locations:

Wednesday, March 20, 2013 at the "WDI's Women of the Workforce Initiative (WOW) Second Annual Working Women's Conference, Albany, New York www.wdiny.org

Tuesday, March 26, 2013, 7pm at the "Triangle Fire Memorial & Award Reception, at the Paolucci CNL Cultural Center, Christ The King High School, Queens, NY http://www.facebook.com/events/578061968872544/

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3. Amapola Prada, FF Alumn, at Glasshouse Projects, Brooklyn, March 23

A Preview Benefit for
Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater

Saturday, March 23, 2013
6pm-10pm
Lecture by Dr. Gayatri Chakravorty Spivak

Performances by Varispeed, guest artists TBA
@
Glasshouse Projects
246 Union Avenue , Brooklyn, NY
(M to Lorimer, G/L to Metropolitan-Lorimer)
Suggested donation $25 (donations over $250 tax deductible)
or reserve a seat online by donating $30 at http://www.brownpapertickets.com/event/350341
Space is very limited!
A preview of and fundraiser for the upcoming Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater, this evening draws together artists, scholars, and also theorists working outside institutions. The lecture by Dr. Gayatri Chakravorty Spivak, on imaginative training for epistemological performance, will act as a provocation and catalyst for further discussions and, alongside music and theatrical performances, a gathering of critical theories written in the moment by the audience.

Dr. Gayatri Chakravorty Spivak is a world renowned critical theorist whose work has been particularly influential to the field of post-colonialism. Her research interests focus on feminism, Marxism, deconstruction and globalization. She is a founding member of the Institute for Comparative Literature and Society at Columbia University where she is also a professor of the highest faculty rank, the only woman of color to be given such honor in the history of the institution. Since 1986 Dr. Spivak has also been an active supporter of rural education as well as socio-ecological movements, both through her theoretical research but also by being a philanthropist. She was born in Calcutta, India, in 1942. She is the translator of Jacques Derrida's seminal work Of Grammatology, which is essentially the first text that introduced deconstruction theory to the United States. Dr. Spivak is the author of many influential works such as In Other Worlds: Essays in Cultural Politics (1987), Outside in the Teaching Machine (1993), Can the Subaltern Speak? (1985), A Critique of Postcolonial Reason: Towards a History of the Vanishing Present (1999), Death of a Discipline (2003), and Other Asias (2005). In 2008 Gayatri Chakravorty Spivak published Who Sings the Nation-State? co-written with Judith Butler. Dr. Spivak's more recent works include Nationalism and the Imagination (2010) and An Aesthetic Education in the Era of Globalization (2012).

Varispeed is a collective of composer-performers from experimental theatre group Panoply Performance Laboratory, ensemble thingNY, and Why Lie? that creates site-specific, sometimes-participatory, oftentimes-durational, forevermore-experimental events. Founded by Aliza Simons, Dave Ruder, Paul Pinto, Brian McCorkle, and Gelsey Bell, Varispeed came together in June 2011 to perform a twelve-hour celebration of Perfect Lives Brooklyn before they were invited to perform the critically-acclaimed Manhattan version in November as part of PERFORMA '11. Their new arrangements in Perfect Lives Manhattan made Time Out New York and New York Times' critic Steve Smith's "Best of 2011" list. Subsequently, Varispeed presented on Perfect Lives at Performers Forum and began a series of 1-minute recorded operas, each dedicated to a supporter of the collective. In August 2012, Varispeed presented their second full scale project, an over-night, 12-hour arrangement of John Cage's Empty Words, which was presented at Roulette, Exapno, and across the Brooklyn Bridge.

Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater is an experimental conference based on the premise that performance is not just an artistic medium, it is also a vast and complex conceptual structure reaching into every sphere of society. Scheduled for September 2013, the conference recognizes, frames, and authorizes performance-making as a constructive theorizing and envisioning act with the agency to escape autonomous artistic spheres and participate in co-construction of public discourse. Significantly, the conference begins with four theoretical positions, each presented via performance. The conference is structured to allow participants to respond to, rebut, and extend the views presented in the four initial performances, through discussions, talks, and conference publications. The four theoretical performances that provide the core of the conference will be presented by Mike Taylor (USA), Reality Research Center (FINLAND), Amapola Prada (PERU), and Kikuko Tanaka (JAPAN/USA). This benefit primarily funds air travel for international participants.

Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater is conceived and organized by Esther Neff (Panoply Performance Lab) and Yelena Gluzman (UCSD), and supported by a grant from Culture Push's Fellowship for Utopian Practice.
To contact conference organizers, please email theatertheoryconference@gmail.com

Press Contact: Belinda Noyse
NoysePR@gmail.com
574-536-7648

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4. Betty Tompkins, FF Alumn, at Home Alone 2, Manhattan, thru April 7, and more

Home Alone Gallery is pleased to announce that
'Kiss Painting #5' by Betty Tompkins
is now on view 24 hours a day at 54 Franklin Street
Please also visit Home Alone 2 (208 Forsyth Street) for a two person exhibition of Betty Tompkins and Dadamaino thru April 7

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5. Joseph Nechvatal, FF Alumn, now online at www.3ammagazine.com

Just published on the web

Incomparables

Joseph Nechvatal (aka @twinkletwink) on the New Impressions of Raymond Roussel exhibit: http://www.3ammagazine.com/3am/incomparables/

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6. Bill Irwin, FF Alumn, in The Wall Street Journal, Mach 12

Wall Street Journal, March 12
Turning Their Clowns Upside Down
Curtain Raisers By LIZZIE SIMON

Each week in Curtain Raisers we invite a local theater artist to attend a show of his or her choosing and then discuss the work. On Thursday, director and choreographer Jeff Calhoun went to the Signature Theatre to see the new slapstick variety show, "Old Hats," starring Bill Irwin, David Shiner and Nellie McKay, with direction by Tina Landau. Mr. Calhoun, a self-described "hoofer," was discovered by Tommy Tune as a teenager and performed on Broadway and in national tours before choreographing as Mr. Tune's associate. His Broadway directorial credits include the Deaf West production of "Big River" and "Newsies," which will mark its one-year anniversary on March 29. His production of "Jekyll and Hyde" begins previews April 5, and he is currently working on Noah Racey's "Pulse," which will open at Sarasota's Asolo Rep Theatre on May 23.

Two clowns and a chanteuse take the stage in "Old Hats," a evening of vaudevillian physical comedy, song and laser-sharp observation. The show marks the return of collaborators David Shiner and Bill Irwin, veteran comedy performers who won great acclaim (and a Tony Award) in the 1990s for their "Fool Moon." Ms. McKay, a comedian and songwriter, more than keeps up with her esteemed company.

"With performers who are so extraordinarily talented, you know you're in for an evening of surprises," Mr. Calhoun said. "And that's what I think theater should always be."

Throughout "Old Hats," he picked up dozens of references to the well-worn vaudevillian tradition, beginning with its multi-act structure, its placards to stage left announcing each bit, and traditional scenarios like the Wild West Saloon and the hobo on the park bench. Still, this wasn't your grandfather's vaudeville, and these old hats were up to new tricks.

"They're not in their youth anymore," Mr. Calhoun said of Messrs. Shiner and Irwin, whose strength and flexibility were calling cards through the years. (Ms. McKay is 30). "But it's much more sophisticated. You have ideas replacing the sheer energy of youth."

Indeed, what most inspired Mr. Calhoun was how an art form that's more than a century old-and often associated with its early incarnations-managed to express modern times with enough specificity, sophistication and humor to rival anything in contemporary popular culture. In one bit, the pair play two elderly men waiting on a train platform engrossed in a discussion of their pharmaceuticals. In another, they're sparring politicians, lampooning the absurd clowning (a specialty for them) that can replace substantive debate in presidential elections. In a third, Mr. Irwin performs a frantic solo as a Wall Street executive dominated by his iPad. If there had been a more keen send-up of our relationship to prescription medication, presidential politics, and hand-held technology on the New York stage, Mr. Calhoun hadn't seen it.

"It feels like it's from another time, but it's utterly of its time," he said. "I kept thinking I'd love for all of the Newsies to see this."

The scene that affected him the most wasn't a comedic one, but one in which Mr. Shiner plays a sad-clown hobo on a park bench. Picking through the garbage, he finds the business section of a newspaper (this one) and conveys a hopelessness in reading it that seemed specific to men approaching or in middle age. Then, using a bed sheet and a pole that he's found under the bench, the hobo fashions a puppet of a woman, which looks at him tenderly. Of course we don't see her face; it's the expression on his face that matters-one of being looked on tenderly. When her puppet hand caresses his cheek, he's transported by the affection and grace of the gesture. Soon, though, a gust of wind lifts her into the air and out of his grasp. He's stricken by a sadness so real and recognizable that a man sitting behind Mr. Calhoun could be heard grunting with identification.

"That was as moving as anything I've seen this year," he said. "The writing was beautiful and not a word was spoken."

Mr. Calhoun's new project, "Pulse," similarly updates a traditional theatrical form. It's a production built for Noah Racey, an emerging talent as singular, he said, as Messrs. Irwin and Shiner and Ms. McKay. "He's the closest thing I've ever seen to Fred Astaire," Mr. Calhoun said. "There's not work these days for that kind of talent."

"Pulse" mixes standards and contemporary pop, which Mr. Racey performs with a five-piece background ensemble. Like "Old Hats," it's a low-tech and unpretentious affair. "The bells and whistles are nothing more, and nothing less, than the accumulation of artistry over a lifetime," Mr. Calhoun said. "It's an homage to the song-and-dance man."

And so he was looking in "Old Hats" for new solutions. "What do they as vaudevillians need to do to make it relevant in the 21st century?" he asked. "They're the torchbearers of that tradition, which is what I think Noah can be."

He left the theater envious, but happily so. "You hope for that. You want that," he said. "I love when you leave the theater with more energy than when you came. How often does that happen?"

A version of this article appeared March 12, 2013, on page A23 in the U.S. edition of The Wall Street Journal, with the headline: Turning Their Clowns Upside Down.

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7. Liz Magic Laser, FF Alumn, in The Wall Street Journal, March 9, 2013

The Wall Street Journal

Catching a Sister's Act at MoMA by KIMBERLY CHOU

What's better than one Knowles sister? Two-plus Jay-Z.
Power couple Beyoncé and Jay-Z made a surprise appearance at the Museum of Modern Art on Wednesday night, dropping in on little sister Solange's performance at the Armory Party, the museum's annual benefit celebrating the Armory Show.

As Solange performed songs off her recently released EP "True" in the MoMA's Agnes Gund Garden Lobby, Beyoncé and Jay-Z seemingly apparated in the atrium upstairs, looking out over the partygoers below. Dressed casually (fur-trimmed parka and jeans for her, Timberland boots for him), the couple could be seen seated on a bench in the balcony overpass, rocking out like the rest of the crowd-though, of course, protected by security. From several paces away, Beyoncé could be seen tossing around her mane to Solange's closing song, the bittersweet dance single "Losing You."

It was a full family affair: mom Tina Knowles, dressed in head-to-toe leather, was there, too, mouthing all the lyrics and comparing iPhone snaps with Solange's boyfriend, music-video director Alan Ferguson.

Of the Knowles sisters, Beyoncé is more popular-but Solange is arguably the coolest. She is credited for turning her sister and brother-in-law onto hipster Brooklyn-there was a much-blogged about Jay-Z and Beyoncé sighting at a show for Grizzly Bear on the Williamsburg Waterfront in 2009. And Solange is known for her cachet among indie musicians-Oliver Sim from the XX joined her onstage at a recent gig and her tour drummer is in the Brooklyn band Chairlift-as well as fashion stylists.

"I have huge admiration for her," said model and TV personality Alexa Chung, a style icon in her own right and the face of J.Crew's Madewell line before Solange. "I love how much fun she always looks like she's having."

Ms. Chung was at the party hanging out with her friend Harley Viera-Newton, the evening's DJ. She, too, could be seen dancing and singing along during "Losing You"-Ms. Chung's favorite off the record-in the front row.

Other notables in attendance were MoMA P.S.1 director Klaus Biesenbach; the Armory Show's commissioned artist this year, Liz Magic Laser; and actress Jessica Biel.

DJ and fellow It Girl Ms. Viera-Newton said she had just got back from Paris Fashion Week four hours before the party.

"You know when you're too tired to be tired?" she said, manning the turntables after Solange had finished.

Ms. Viera-Newton had opened the evening too, spinning dance-party favorites like Robyn and, yes, Beyoncé. Did she have any go-tos for pleasing a big, mixed crowd like the one at the MoMA Wednesday night? "Mariah," she said, "Every time."

Jay-Z had long left the building by then-he and his wife left immediately after Solange finished performing, with even the security guards craning their necks for a glimpse.

But as Ms. Viera-Newton cued up Mariah Carey's hit "Heartbreaker," featuring the rapper, his recorded self made another appearance, if just for a guest verse.

Write to Kimberly Chou at kimberly.chou@wsj.com

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8. Zlatko Kopljar, FF Alumn, at MSU, Zagreb, Croatia, March 21

below is the link for screening in MSU Zagreb.m March 21, 2013
all the best
zlatko

http://msu.hr/?/hr/19883/

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9. Lynn Book, FF Alumn, at Scales Fine Arts Center, Wake Forest University, March 26, and more

dear friends and colleagues, escape with me (and Phaedra) in one or more of the following ways... +lb

steal away, take o f f, v a m o os e , v a n ish

E S C A P E S
a new video project by
Lynn Book

Salon Screening + Reception
Tuesday, March 26
Scales Fine Arts Center / Art 102 / 5 - 6:30 PMWake Forest University
free and open to the public

Introduction: Wanda Balzano, Director of Women's and Gender Studies
Context: Lynn Book, Theatre and Dance + Innovation, Creativity and Entrepreneurship
and MFA Documentary Film candidate Brenton Richardson ('13) on the video editing process

This project is based on the 'Phaedra' figure across centuries of time and narrative.
Escapes is part 1 of a 3 volume video book, UnReading for Future Bodies
and has been funded by the Research and Publication Fund, Office of the Dean, WFU
and supported by a Visiting Artist Residency at Sarah Lawrence College.

hosted by > IPLACe Interdisciplinary Performance and the Liberal Arts Center @ Wake Forest University, Winston Salem, NC

and

E S C A P E S
will be published in the interdisciplinary online journal:
anglistica (University of Naples, IT)
co-edited by Wanda Balzano and Silvana Carotenuto
forthcoming here: http://www.anglistica.unior.it/
Spring, 2013

& will also be shown @
York St. John University, UK as part of
Becoming Nomad: Hybrid Spaces, Liquid Architectures and Online Domains
hosted by TaPRA Performance and New Technologies Inter-conference Event
April 10, 2013
http://www.yorksj.ac.uk/arts/faculty-of-arts/researchcom/becoming-nomad-hybrid-spaces.aspx

and

I'll deliver a paper - "Outrageous Acts and Performance Art: Inter-Play in the (s)Lip of Power" and screen excerpts as part of Outrage!: Discourse, Practices and Politics of Protest and Social Transformation Southeastern Women's Studies Association Conference, University of North Carolina, Greensboro April 18-20, 2013
http://sewsa2013.wordpress.com/

If you can't come to any of these public showings, it's online: https://vimeo.com/54898728

Stay tuned for Derangements @ Mildred's Lane, June & Escapes, Derangements and Fragmenta in Berlin, July/August

+ summer release of Creativity and Entrepreneurship: Changing Currents in Education and Public Life - Ed. Lynn Book/David P. Phillips, Elgar, 2013

Lynn Book
www.lynnbook.com

Associate Director
Program of Innovation, Creativity and Entrepreneurship
Senior Lecturer, Department of Theatre and Dance

Wake Forest University, PO Box 7264
Winston-Salem, NC 27106-7264

tel: 336-758-3383 fax: 336-758-5668
e-mail: bookl@wfu.edu

Graduate Faculty Associate, Transart Institute
Berlin / New York / University of Plymouth, UK
www.transartinstitute.org

"being safe is the enemy of everything" ~ Diane Sawyer

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10. Alexander Viscio, FF Alumn, now online at http://youtu.be/e-mbvx9Sc3Q

Hardplace Rock 2013 Galerie Michaela Stock, Vienna.

http://youtu.be/e-mbvx9Sc3Q

This VAL (Vehicles for Another Landscape) is a hybrid between a Dynosphere created in 1932 and the modernized Hamster wheels found on the Internet. The words "Hardplace" and "Rock" are cut into each side in Braille. These holes are reminiscent of the "Glory holes" in erotic peep shows and offer a portal into what is inside the wheel making it rotate. I am inside stepping back and forth on its crossbeams making the structure go to and fro from either side of the Gallery space. And in doing so, it is the viewers dodging the moving sculpture are in between and a rock, (the wheel) and a hard place, (the gallery walls).

Alexander Viscio
www.alexanderviscio.com
www.strangepositioningsystems.org
www.thenewyorkoptimist.com

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11. Annie Lanzillotto, LuLu LoLo, Salley May, FF Alumns, at CUNY Grad Center, Manhattan, April 3, and more

NEW YORKERS!
SAVE THE DATE
WED APRIL 3RD
6:30 PM
A Dramatic Reading of "L IS FOR LION: an italian bronx butch freedom memoir"
by Annie Lanzillotto. SUNY Press 2013

COME HEAR Annie's fave performance artists, actors, poets, and born and bred Nooyawkahs take on her characters in monologues and scenes from her book.

Annie will be hosted and introduced by Suzanne Wasserman and joined onstage by: Salley May, LuLu LoLo, Rosette Capotorto, Audrey Kindred, Emily Kunkel, and Rose Imperato on sax.

at: Gotham Center for New York City History, in the CUNY Grad Center,
365 Fifth Avenue at 34th Street,
(in the old B. Altman's Building on 5th Ave / 34th St)
Once inside, ask for the Martin E. Segal Theater.

Gotham Contact: jmurphy@gc.cuny.edu,
212-817-8460
www.gothamcenter.org

YES autographed copies of the book will be for sale.

Bring picture ID as concierge sometimes requests it.
Free and open to the public.
First-come first-serve seating.
No reservations required.
FREE
All Ages welcome

Please share this invite far and wide.

www.annielanzillotto.com
www.lisforlion.com

Thanks to SUNY Press, my book "L is for Lion" is one click away:
http://www.sunypress.edu/p-5639-l-is-for-lion.aspx

www.annielanzillotto.com
"Eleven Recitations"
http://www.cdbaby.com/cd/annielanzillotto
"Blue Pill"
http://annielanzillottoband.bandcamp.com/album/blue-pill
"Carry My Coffee"
http://www.cdbaby.com/cd/annielanzillotto2
Radio interview of Annie by Jean Feraca:
http://wpr.org/hereonearth/archive_120326k.cfm
Annie Performing on the Mailbox
http://www.youtube.com/watch?v=aesfFxomgmc
Annie blogging as Icewoman
http://www.i-italy.org/bloggers/icewoman
Annie's Action Writing blog
http://lanzillottoactionwriting.wordpress.com/
Annie's Cancer Decameron blog
http://hodgkinsdiseasesurvivor.wordpress.com/tag/annie-lanzillotto/
Annie's Spaldeen blog
http://spaldeen.wordpress.com/
Annie's songs on soundcloud
http://soundcloud.com/annie-rachele-lanzillotto
www.annielanzillotto.com

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12. Martin Rosengaard, FF Alumn, at Galapagos Art Space, Brooklyn, March 20

MAS Arts Forum: Building Resilience Through the Arts
Galapagos Art Space
Join MAS on Wednesday, March 20 at 6:30 PM, for Building Resilience Through the Arts, a discussion hosted in collaboration with the World Policy Institute. The panel will consider the role artists play in creating and defining resilient, livable and vibrant communities. Confirmed panelists include Kemi Ilesanmi of The Laundromat Project, Artist Dustin Yellin, Martin Rosengaard, artist and Wooloo.org co-founder, and Lisa Kim, cultural affairs director at Two Trees Management. Richard Flood, New Museum director of special projects and curator at large, will moderate.
Registration is required for this free event, which will be held at Galapagos Art Space in DUMBO, Brooklyn.
Date: Wednesday, March 20, 2013
Time: 6:30 PM - 8:00 PM
Address:
16 Main Street
DUMBO
Brooklyn, NY 11201

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13. Barbara Bloom, FF Alumn, in The New York Times, March 13

The New York Times
March 13, 2013
Speak, Memory, Kvetch
By JULIE LASKY
On Friday, "As It Were ... So to Speak," an exhibition of 276 works of Judaica, art and decorative objects, opens in New York. The pieces were selected by the artist Barbara Bloom from among 25,000 in the collection of the Jewish Museum and are arranged in a suite of ornate rooms in the early-20th-century Upper East Side house the museum occupies.

Ms. Bloom, 61, has long occupied a border between art and design, creating and arranging domestic objects that are lush with commentary. Working with Ken Saylor, an architect, she commissioned display cases that look like furniture; each piece holds works related to quotes or imagined dialogues by figures from far-flung epochs. For instance, a game table featuring a reproduction of a 19th-century Dreyfus Affair board game as well as a first-century die is accompanied by a scenario Ms. Bloom wrote of a card game played by Nefertiti, Emile Zola, Amy Winehouse and Jesus. She led a reporter through the installation earlier this week.

Q. How did you even begin?

A. I worked with the curator, Susan Braunstein, and we sorted through things on a database, just taking a look at what was interesting. I had really no understanding of Jewish culture or Jewish religion. I grew up in Los Angeles, and "secular" doesn't describe how atheist my family was.

Q. But raises the question of why you were chosen for this project.

A. I don't know. You'd have to ask the director, wouldn't you? I think because of the work that I do. She thought I would make something interesting with objects.

After a while, I had lists of objects that were interesting to me and subjects that were interesting to me, and I kind of warmed to the idea that these are the formal reception rooms of a house, why don't I just treat them as such? One of the things I was finding along the way were these Talmudic texts. They're these phenomenally beautiful texts in which a primary text is written and 100, 200, 500, 1,000 years later another text can be written as a commentary on that, and then you have a commentary on that, and a commentary on that.

And it's not so much the argumentative nature of Judaism - you argue with God, you argue with each other - but the fact that these discussions and arguments take place over an enormous amount of time that became really interesting to me. I thought, what if we "furnished" - that's with quotes - the house, but that it wasn't really furniture. The objects that we ended up building are between furniture and cases and sort of ghosts of places where people could have congregated.

And so for instance, here, I'll take you to the piano. We kept going through the objects, and all of sudden there were these strange things with hands on them. Susan explained to me those are Torah pointers you need to read the Torah with. I decided to make the pointers almost like the strings of the piano.

Q. And the sheet music on the piano relates to your conversational ghosts?

A. Two figures who are extremely interesting to me are George Gershwin and Arnold Schoenberg, who were very good friends. I kept reading about that whole Hollywood émigré community and wanted some kind of representation, so there's a description here of a tennis match between the two of them by a composer, Albert Sendrey. Everyone says that there are movies of the two of them playing tennis together, but they actually did not exist. Schoenberg would have been 62 years old if they had been playing together.

Q. But elsewhere you quote Einstein on the relativity of time.

A. As you go through the passageway, there are these portraits that hang behind the doors. We just masked out the eyes and they're kind of looking at each other as in conversation. I've made a sound work, which is people arguing. Everything from political debate to "Seinfeld" to "Curb Your Enthusiasm" to Nichols and May to people in cafes. I just wanted to have a cheeky thing of Jews arguing. It holds the whole thing together.

The show is on view through Aug. 4 at the Jewish Museum, 1109 Fifth Avenue, (212) 423-3200, thejewishmuseum.org.

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14. Katya Grokhovsky, FF Alumn, at The Bedroom, Brooklyn, April 13

Hello!

I am writing to you in order to invite you to participate in the next The Bedroom one night exhibition/event, titled: Gifted, to be staged at my apartment in Brooklyn on Saturday April 13th 8-11pm.

I invite you to respond in any way you wish to the theme of gifting, giving, sharing and celebration. (The event will coincide with my birthday ;).

I am looking for small wall works (no big holes in walls or drilling, pins and tape only), video projections, videos on small devices, performances, ephemeral works, site specific miniature installations, readings, text, sound, food, postcards, etc.

Space is very limited, but you will have all of my apartment to play with, including unfurnished lounge room, ceilings, my bedroom (great for projections in the dark), kitchen and bathroom. Walls are white.

For pics of previous Bedroom events:
http://thebedroomgallery.blogspot.com/

Pleas email with confirmation of participation and description of work by March 21st.
You don't have to be present in NY to participate, mail, email, internet, etc.

Dates:
Deadline of descriptions and participation: March 21st
Event - Saturday April 13th 8-11pm

Install: April 12th and April 13th
De-install: after the show and Sunday April 14th

The Bedroom:

The Bedroom is an intimate space of exchange, social practice and art play, without a physical space. An ongoing project under direction of artist Katya Grokhovsky, which will take shape through tri-monthly events in various venues across New York.

New website and events coming soon.

Yours in Art,

Katya Grokhovsky
katyagrokhovsky@gmail.com

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15. Maria Yoon, FF Alumn, at The Sarasota Film Festival

MARIA YOON 1st WORLD PREMIERE
We did it! Maria the Korean Bride feature documentary will be showcased at the Sarasota Film Festival on April 8 & 9, 2013 at 8 pm. My very first public presentation. And two of my "husbands" already confirmed that they will be attending the event.

http://prod5.agileticketing.net/websales/pages/info.aspx?evtinfo=8529~e8df1855-1d30-40e1-8284-23972b047cf9&epguid=ad9ba91e-65ff-43ea-bd58-4784d49feb39&

Trailer: http://youtu.be/DWG9PGJwZz0

Thank you,
Maria Yoon

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16. John Cage, FF Alumn, at Eyebeam, Manhattan, May 3-4

HPSCHD, John Cage's legendary Gesamtkunstwerk is a mass media orgy, considered by many as the wildest, largest, and loudest musical composition of the 20th century. Its very nature is inextricable from the tumult of the year it premiered, 1969. ISSUE Project Room presents this spectacle on May 3rd and 4th in collaboration with Electronic Music Foundation and Eyebeam Art and Technology Center, as part of the 2013 Darmstadt Essential Repertoire series. This new production features composer Joel Chadabe, who has directed performances of HPSCHD throughout the world, as artistic advisor. Keyboardist Neely Bruce, who performed at the 1969 premiere, plays in the harpsichord ensemble. Artist Bradley Eros curates an extensive body of film and video artists to interpret the immersive visual score. Full artist lineup to be announced soon.

Performances take place at Eyebeam Art and Technology Center on Friday, May 3 from 5pm to 10pm and on Saturday, May 4 from 1pm until 6pm. The audience is invited to arrive and leave at any time during the performance and refreshments are available.

ISSUE Project Room Presents

In collaboration with Eyebeam Art and Technology Center & Electronic Music Foundation

Darmstadt Essential Repertoire: John Cage & Lejaren Hiller, HPSCHD

Friday, May 3rd, 2013 - 5:00pm

Saturday, May 4th, 2013 - 1:00pm

at Eyebeam: 540 W 21st St., NYC 10011

$15 / $12 students & ISSUE members
For more information and tickets, please visit our website.
MEDIA CONTACT: Eve Essex, eve@issueprojectroom.org, 718.330.0313
Download PDF // View Online

About HPSCHD: A collaboration between Cage and the electronic composer Lejaren Hiller, HPSCHD is known for being Cage's first and most significant foray into utilizing the computer to execute the chance operations of the I-Ching. The inspiration for the piece came from a commission for harpsichord, an instrument disliked by Cage. Starting with material from Mozart's Dice Game, Cage and Hiller plucked from virtuosic repertory by Beethoven, Gottschalk, and Busoni (among others). Hiller's programs in the FORTRAN computer language, named ICHING, DICEGAME, and HPSCHD reshaped this material for the scores. Hiller also produced multiple tapes of microtonal electronic sounds to be played simultaneously with the harpsichords. The event premiered in May of 1969 at the University of Illinois's Assembly Hall, within a visual environment of hundreds of projected images and films, many supplied by NASA. Thousands came to experience the event. In retrospect, HPSCHD can be described as Cage's prescient response to Marshall McCluhan, Happenings, the moon landing, the history of Western Classical music, hippy utopianism, Buckminster Fuller, and perhaps even a prediction of the computer age and its effects on human consciousness. Presented on the heels of the Cage centenary, Darmstadt's presentation of HPSCHD offers a 21st century audience the opportunity to reflect on how this totality of ideas has transformed in the 44 years since its inception.

Joel Chadabe is an internationally recognized pioneer in the development of interactive music systems. He has concertized worldwide since 1969. His book 'Electric Sound' is the first comprehensive overview of the history of electronic music. His articles have appeared in Leonardo, Computer Music Journal, Contemporary Music Review, Perspectives of New Music, Melos, Musique en Jeu, and other journals, and anthologized in books by MIT Press, Routledge, and other publishers. His music is recorded on EMF Media, Deep Listening, CDCM, Lovely Music, and other labels. He has received awards from NEA, NYSCA, Ford Foundation, Rockefeller Foundation, Fulbright Commission, and other organizations. He is founder of Intelligent Arts, an electronic publishing company, adjunct faculty at NYU, and president of Electronic Music Foundation.

Bradley Eros works in myriad media: experimental film, video, collage, photography, performance, sound, text, contracted and expanded cinema and installation. His work has been exhibited at Whitney Biennial and The American Century, MoMA, Performa09, The New York, London and Rotterdam Film Festivals, The Kitchen, and Microscope Gallery. He has worked for many years with the New York Filmmakers' Cooperative, Anthology Film Archives and co-directed the Roberta Beck Mercurial Cinema. Also a maverick curator, composer, designer and investigator, Eros's practice encompasses ephemeral cinema, mediamystics, subterranean science, erotic psyche, cinema povera, poetic accidents and musique plastique.

Darmstadt "Classics of the Avant Garde" is the music series led by composers Nick Hallett and Zach Layton since 2004, a program of ISSUE Project Room. Essential Repertoire serves to present dynamic interpretations of rarely performed masterpieces from the canon of experimental music.

Eyebeam supports and promotes dynamic and risk-taking work at the intersection of art and technology. Eyebeam provides residencies and fellowships for interdisciplinary artists, hackers, curators, and technologists who are addressing the issues and concerns of our time. As host to a diverse weekly output of exhibitions, panels, workshops, performances, and events, Eyebeam seeks to provide an environment for dialogue and collaboration, as well as a fertile context for discovery among its artists and the general public.

Founded in 2003, ISSUE Project Room is a pioneering nonprofit performance center, presenting projects by more than 200 interdisciplinary artists each year that expand the boundaries of artistic practice and stimulate critical dialogue in the broader community. By facilitating the commission and premiere of more than 25 innovative new works each year, ISSUE performs an essential research and development function that stimulates a constant influx of ideas into the local, national, and international creative landscape.

This project is made possible in part with support from mediaThe foundation inc. and with public funds from the New York State Council on the Arts' Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes.

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17. Mary Beth Edelson, Annie Sprinkle & Beth Stevens, Betty Tompkins, FF Alumns, at Galerie im Kornerpark, Berlin, Germany, opening March 22, and more

Temporary Autonomous Zone / 2
Erogenous Zone

Galerie im Körnerpark & Pony Royal

Exhibition
March 23 - April 21, 2013

Opening Reception
Friday, March 22, 18.00

with performances by
Amelie Jakubek, Nina Rhode, Betty Tompkins

afterparty with music
LY & Deorling and Cicciolina

Erogenous Zone explores how women reflect upon and experience sexuality and eroticism today, and aims to create new contexts and frameworks for continued discussion about these topics.
Curated by Juliane Solmsdorf & Mathilde ter Heijne / ƒƒ

Erogenous Zone / 1 - Galerie im Körnerpark

Artists: Magdalena Bichler | Melanie Bonajo | Nine Budde | Eli Cortiñas | Sonja Cvitkovic | Christina Dimitriadis | Béatrice Dreux | Mary Beth Edelson | Simone Gilges | Mariola Groener | Guðný Guðmundsdóttir | Allison Halter | Mathilde ter Heijne / ƒƒ | Malin Holgersson | J&K / Janne Schäfer & Kristine Agergaard | Antje Majewski / ƒƒ | Kirsten Palz | Julia Phillips | Katrin Plavcak / ƒƒ | Jen Ray / ƒƒ | Nina Rhode | Fiona Rukschcio | Eva T. Schippers | Frauke Schmidt | Tanja Schomaker | Sarah Schumann | Juliane Solmsdorf / ƒƒ | Annie Sprinkle & Beth Stephens | Valerie Stahl von Stromberg | Melissa Steckbauer / ƒƒ | Betty Tompkins | Magda Tothova / ƒƒ | Ellie de Verdier | Katharina Wulff

Galerie im Körnerpark
Schierker Straße 8, 12051 Berlin
Opening times: Tuesday-Sunday,10h-20h
Tel. +49 (0) 30 568 23 939
U & S-Bahn: Neukölln (U7)

and

Erogenous Zone / 2 - Pony Royal

Artists: Mary Beth Edelson | Mathilde ter Heijne / ƒƒ | Britta Helbig | Katrin Plavcak / ƒƒ | Melissa Steckbauer / ƒƒ | A.L. Steiner & A.K. Burns

Pony Royal
Siegfriedstraße 12, 12051 Berlin
www.ponyroyal.de
Opening times: Saturday & Sunday, 10h-20 h
and by appointment: ff@fffffff.org
U & S-Bahn: Neukölln (U7)

Erogenous Zone is part of

Temporary Autonomous Zone / 2
- a frame for a living and evolving network of women artists. This network is formed around a constantly shifting discussion of contemporary feminist and participatory practices.
Galerie im Körnerpark, March 23 - May 19, 2013

ƒƒ is a group of feminist artists collaborating since 2011.
www.fffffff.org

ƒƒ Collaborations Exhibition
April 27 - May 19, 2013, Opening: April 26, 18h

Generously supported by Senatsverwaltung für Arbeit, Integration und Frauen.

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18. LAPD, FF Alumn, now online at http://rfkineky.org/project/performance/index.html and more

Dear RFK in EKY interested people.
Right now, March 2013, videos of each and just about every event in RFK in EKY performance activities, are now available to be seen on the renewed RFK in EKY website.

How did this happen? Technological advances and the few thousands of dollars still in the project's Appalshop bank account have allowed us to edit and upload hours of footage from the days long events. Henriëtte and I worked with editor Matt Mayes (a filmmaker and pal of ours here in LA --- though his name suggests he might have some KY roots).

The videos allow us from the vantage point of 2013, to once again, explore the continued relevance and resonance of Robert Kennedy's trip to engage the people of eastern Kentucky in a discussion of issues that we continue to struggle with today: poverty, war, coal, education, environment, income inequality, healthcare, jobs.

Some of the people who participated in the project are elsewhere. Regrettably, some have passed away, but in the video these folks can be seen as the vibrant, wry, intelligent and feeling individuals we remember.

Henriëtte and I talk often about how much we loved being in eastern Kentucky. Thanks again to everyone for your generosity in welcoming us to the community.

And check out the videos at the RFK in EKY website: http://rfkineky.org/project/performance/index.html

or on the RFKinEKY youtube site:

http://www.youtube.com/user/rfkineky

Super Best Everybody,
John Malpede & Henriëtte Brouwers

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19. Vito Acconci, Mona Hatoum, Jenny Holzer, Guerrilla Girls, Matt Mullican, Bruce Nauman, Dread Scott, FF Alumns, at Bard College, Annandale-on-Hudson, NY, opening March 24

New exhibitions opening on March 24th:
less like an object more like the weather
and
Monogamy - featuring works by Gerard Byrne and Sarah Pierce
March 24-May 26, 2013

Opening: Sunday, March 24, 1-4pm and Saturday, April 20, 1-4pm

Center for Curatorial Studies
Bard College
Annandale-on-Hudson, NY

www.bard.edu/ccs

Beginning on March 24th, the Center for Curatorial Studies at Bard College (CCS Bard) will present less like an object more like the weather, the annual exhibition series showcasing the curatorial work of CCS Bard master's degree candidates. less like an object more like the weather will include 15 solo and group exhibitions featuring the work of more than 54 established and emerging contemporary artists working in a variety of media.

The fourteen participating students have elected to present their individual curatorial projects simultaneously in the Hessel Museum of Art. As an unprecedented gesture of institutional engagement through collectivity, all exhibitions and adjacent programming come together under one title.

The exhibitions in less like an object more like the weather are:

CROSS//ROADS
Artists: Willie Birch and Liam Gillick
Curated by Robin Wallis Atkinson

Don't blame anyone
Artists: Bruce Nauman, Giovanni Anselmo, Giorgio Griffa, Al Taylor, Nicolás Paris, and Julio Cortázar
Curated by Juana Berrío

Flip The Script
The newly commissioned dance Reverse to Reverence by Vanessa Anspaugh is a collaboration with performers Aretha Aoki, Lindsay Clark, Lydia Okrent, and Mary Read, with audio by JD Samson.
Curated by Olga Dekalo

Persona Ficta
Artists: Tania Bruguera & Jota Castro, Kristin Lucas, Dread Scott, and Sergio Muñoz Sarmiento
Curated by Cora Fisher

Landing Field: Vito Acconci and Yve Laris Cohen
Curated by Sarah Fritchey

Blueprints
Artists: Trisha Brown, Peter Halley, Sean Paul, and Nick Relph
Curated by Stephanie Harris

None the Wiser
Participants: Jessica Baran, Matt Mullican, Carlos Reyes, and John Smith
Curated by Marie Heilich

Terms & Conditions of Use
Artists: Owen Mundy, Deborah Stratman, Brad Troemel & Jon Vingiano, and Commodify, Inc.
Curated by Sarah Higgins

We took the image and put the sound too loud
Contributors: Shumon Basar, Jean Marie Casbarian, An-My Lê, and Michael Rakowitz
Curated by Fawz Kabra

The Very Quick of the Word
Artist: Ken Okiishi
Curated by Annie Godfrey Larmon

Unless Otherwise Noted
With contributions by John Cullinan, Ivana Králíková & Marta Dauliute, Falke Pisano, Reto Pulfer, Arden Sherman, Rebecca Stephany, and Julia Valle
Curated by Marina Noronha

The Ecstasy of the Newness of the Image (or
the Communicability of an Unusual One)
Artists: Trisha Donnelly, Analia Saban, and Gedi Sibony
Curated by Tara Ramadan

Are You In?
Architectural Collective: Zuloark
Curated by María Montero Sierra

Point of Sale
Designer: Studio Manuel Raeder
Curated by Karly Wildenhaus

Object Permanence
Artists: Anne Collier, Roe Ethridge, Mona Hatoum, Jenny Holzer, Guerrilla Girls, Wade Guyton, Robert Morris, and Andrea Zittel
Curated by Robin Wallis Atkinson, Cora Fisher, Sarah Fritchey, and Marie Heilich

Student-curated projects at CCS Bard are made possible with support from the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Audrey and Sydney Irmas Charitable Foundation; the Robert Mapplethorpe Foundation; the Board of Governors of the Center for Curatorial Studies; and by the Center's Patrons, Supporters, and Friends.

Also on view:

Monogamy
CCS Bard Galleries
March 24-May 26
Opening Receptions:
Sunday, March 24 1-4pm
Saturday, April 20 1-4pm

An exhibition featuring works by Gerard Byrne and Sarah Pierce, curated by Tirdad Zolghadr.

New hours: The CCS Bard Galleries and Hessel Museum of Art at Bard College are open Thursday through Sunday from 11am to 6pm. All CCS Bard exhibitions and programs are free and open to the public.

Free chartered bus from New York City for the March 24th and April 20th openings. For reservations call 845 758 7598, or write ccs@bard.edu.

Please visit our website, www.bard.edu/ccs, for all related programming.

For more information, please call CCS Bard at 845 758 7598, write ccs@bard.edu, or visit www.bard.edu/ccs.

About the Center for Curatorial Studies
The Center for Curatorial Studies at Bard College (CCS Bard) is an exhibition, education, and research center dedicated to the study of art and curatorial practices from the 1960s to the present day.

In addition to the CCS Bard Galleries and Hessel Museum of Art, the Center houses the Marieluise Hessel Collection, as well as an extensive library and curatorial archives that are accessible to the public. The Center's two-year M.A. program in curatorial studies is specifically designed to deepen students' understanding of the intellectual and practical tasks of curating contemporary art. Exhibitions are presented year-round in the CCS Bard Galleries and Hessel Museum of Art, providing students with the opportunity to work with world-renowned artists and curators. The exhibition program and the Hessel Collection also serve as the basis for a wide range of public programs and activities exploring art and its role in contemporary society.

Center for Curatorial Studies and
Hessel Museum of Art
Bard College, PO Box 5000
Annandale-on-Hudson, NY 12504-5000
845 758 7598
ccs@bard.edu
www.bard.edu/ccs

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20. Tom Murrin, Salley May, Jo Andres, Larry Fessenden, Dynasty Handbag, David Leslie, Lori Seid, FF Alumns, at Abrons Arts Center, Manhattan, April 12-13

Avant-Garde-Arama: New Moon
April 12 + 13 | 8pm
Abrons Arts Center | 466 Grand Street | NYC
$15 | abronsartscenter.org
Presented by Abrons Arts Center; On loan from PS122

Curated by Salley May in collaboration with The Full Moon Crew, Avant-Garde-Arama: New Moon is a tribute to the late downtown mentor and luminary performance artist Tom Murrin. In celebration of his 27 years in Avant-Garde-Arama, there will be performances and video by Elevator Repair Service, Dynasty Handbag, Jonathan Ames, Unitard, Alice Klugherz, Jason Schuler, Syd Straw, Factress, The Naked Lady, Jo Andres, Mimi Goese, David Leslie, Chris Tanner, Laurie Berg, Larry Fessenden, Andrew Schneider, and Tigger! Installation by Love Everyone Movement. Lesbian Love Lounge by Lori E. Seid. And more more more!

Avant-Garde-Arama is Performance Space 122's longest running series. A multi-disciplinary mini-festival featuring break out performances in dance, music, theatre, performance art, video/film, and more presented in eight minutes or less. While PS122's East Village home is being renovated, Avant-Garde-Arama and other programming will take place at multiple venues around the city.

FREE WORKSHOP:
Full Moon Show
April 6 | 10am-2pm
at Abrons Arts Center | 466 Grand Street, NYC

Following the teachings of Tom Murrin, this free workshop will guide participants in the creation of their own Full Moon Show performance. Salley May (a longtime collaborator of Tom's, a HAI teaching artist, and the curator of PS 122's Avant-Garde-Arama) will use his games and methods to lead the group in making short performances to honor the full moon. Please bring items to use for costumes and props (fabric, wigs, cardboard, glitter...whatever inspires you).

Appropriate for enlightened people over the age of 16. No registration needed. Just come. SPRING 2013:
Ant Hampton & Tim Etchells
April 29 - May 5
NYU's Bobst Library | 70 Washington Sq. S
NYPL Schomburg | 515 Malcolm X Blvd
Info and tickets: ps122.org/anthampton

PS122 & PEN World Voices Festival join forces to present two innovative works by Ant Hampton (of Rotozaza), including a collaboration with Tim Etchells. Each piece takes place in a library and is designed to be experienced by an audience of exactly two.
The Quiet Volume
by Ant Hampton and Tim Etchells
Co-presented with PEN World Voices
Available in English and Spanish

Cue China (Elsewhere, Offshore)
by Ant Hampton
Co-presented with PEN World Voices

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21. Kate Gilmore, FF Alumn, at Museum of Contemporary Art Cleveland, thru June 9

Kate Gilmore, FF Alumn, is the subject of her first solo museum exhibition:

Kate Gilmore: Body of Work

March 16-June 9
Museum of Contemporary Art, Cleveland, OH
http://mocacleveland.org//exhibitions/kate-gilmore-body-work

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22. 1:1, FF Alumn, in Artforum, March 2013

Artforum's March 2013 issue features "All the Best People" a review of 1:1 by Caroline Busta.

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23. John Baldessari, FF Alumn, in WSJ Magazine, March 14

WSJ Magazine, Soapbox, "The Coumnists" WSJ asks six luminaries to weigh in on a single topic. This month: Color.

John Baldessari

"When I was a painter, I believed in relational color; that is: This color goes nicely with that color. After I left painting in the late '60s, I began exploring photography, and merging painting and photography into a hybrid. Since then I've used color as a signal. Red equals danger, green equals safety, etc. While these are not universal meanings, it does help me escape relational color. Central to my work is absence, and when I omit part of an image, that part is painted white. My favorite color is blue, but I guess that's everybody's favorite color. An art dealer once told me that people avoid paintings with purple in them, and he has to discount them by 20 percent. The door of my house is painted orange so visitors can find it-another example of color as signal. The only mistake with color that I have regretted is once crossing an intersection against a red light. I almost got killed."
-Baldessari is an artist.

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24. Leon Ferrari, FF Alumn, in The New York Times, March 14

The New York Times
Back Home a Pontiff Is Honored, if Not by All
By SIMON ROMERO
Published: March 14, 2013

BUENOS AIRES - Pope Francis was celebrated here on Thursday by faithful congregants and priests in some of this capital city's vast slums as he started his papacy on an austere note, shunning the throne reserved for him at the Vatican, but the praise was tempered by criticism of him for his hard-line conservative views on a range of issues, including gay rights and artistic expression.
Multimedia

The streets of Buenos Aires, where Francis, formerly Cardinal Jorge Mario Bergoglio, was archbishop until Wednesday, captured the sense of ambivalence over the first Argentine to be named to head the Vatican. Thousands flooded into parts of the city, snarling traffic and bellowing into loudspeakers - not to champion their new pope but to protest for increases in salaries and antipoverty benefits in a country with galloping inflation.

At the Metropolitan Cathedral here, a steady but far from overwhelming stream of the devout and curious filed inside, where José de San Martín, a leader in the independence struggle against Spain, is entombed. At the entrance, some stopped before a computer-printed photograph of Francis under the words "Habemus Papam," Latin for "We have a pope."

"We've sold almost nothing," said Daniel Martínez, 50, who was selling buttons with the new pontiff's picture displayed on a jersey of Argentina's national soccer team. "If Argentina had won the World Cup, the plaza would be full. Since it's the ascension of the pope, people take it more calmly."

Gay rights groups were far from calm in their reaction to Francis, with one organization, the Argentine Federation of Lesbians, Gays, Bisexuals and Transsexuals, pointing out that he had described a plan to legalize same-sex marriage as a "plan of the devil." The group called his selection as pope a "radicalization of the Vatican's position against recognizing diverse families."

Similarly, León Ferrari, one of Argentina's most prominent conceptual artists, called the selection of Francis as pope a "horror" in an interview with the Brazilian newspaper Folha de São Paulo. In the 1990s, Francis clashed with Mr. Ferrari over an exposition of his work that included a piece depicting Jesus crucified on a United States Air Force fighter jet.

Elsewhere, however, parishioners who said their lives were changed by Francis spoke warmly of his selection. In a parish called Virgin of the Miracles of Caacupé, in an area of slums in southern Buenos Aires with uncompleted brick houses along potholed alleys, a 13-year-old boy, Walter Nuñez, said he was proud to know Francis.

"He would come on some Sundays and look after me," said Mr. Nuñez, who at age 2 was adopted into a family of nine when his mother died. At age 8, he was baptized by Francis. "He was a common man," he said. "He was like all of us."

Indeed, Francis is well known throughout Buenos Aires for his crusading work among the poor and vulnerable. The Rev. José Juan Cervantes, 42, said Francis began an initiative in 2008 to assist victims of human trafficking, insisting on being called Father Jorge when he came to the crime-ridden district of Constitución each year to celebrate Mass in an open-air plaza.

One of the most biting reactions to Francis came in a statement from the Mothers of the Plaza de Mayo, the association of women whose children were disappeared during Argentina's military dictatorship, from 1976 to 1983. The group contrasted Francis, who has long been criticized for not confronting the dictatorship, with the 150 or so other priests who were killed during the so-called Dirty War.

"About this pope they named, we have only to say, 'Amen,' " Hebe de Bonafini, the group's president and a longstanding critic of the incoming pope, said in a statement steeped in irony.

William Neuman, Emily Schmall and Jonathan Gilbert contributed reporting.

A version of this article appeared in print on March 15, 2013, on page A10 of the New York edition with the headline: Back Home A Pontiff Is Honored, If Not by All.

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Goings On is compiled weekly by Harley Spiller